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rock music news welcome to the frontline: what’s goin’ on around town... with Nathan Jolly and Steph Harmon

five things WITH THE

KHANZ Inspirations [Themba]: We gather little 2. pieces of inspiration from all sorts of strange and mysterious places, from Frank Zappa to The Strokes, NAS to MGMT. We enjoy being surprised by new music, and hope to do the same with ours.

3.

Your Group [Gibbo]: We’ve been working with Tim Powles from The Church for about a year now. We met after we supported ASTREETLIGHTSONG, and it’s been all sunshine and lollipops since then. We came together through our shared interest in the weird and the wacky. And we love playing with our mates Tales In Space, who always deliver an exciting live show.”

The Music You Make [Kat]: We’re releasing our new 4. single ‘Lost Control’ through Major

1.

Growing Up [Themba]: There was always music in my house when I was growing up. My parents migrated

to Australia from Zimbabwe in the 1980s, before I was born. So from a young age I was surrounded by African music. Artists like Thomas

Mapfumo most certainly had a major influence on my music making.

Label. We’ve got other songs on the way as well. We record in Tim’s Spacejunk studio in Putney, and we’ve really grown since our first

UNDERGROUND LOVERS

The Cat Empire

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Three minutes, eighteen seconds into Underground Lovers’ perfect song ‘Dream It Down’, when the impossible wall of shoegaze drops down into a lovely slide guitar – at that exact moment, they become one of my favourite bands ever. They will be playing this exact second of music, plus many, many more, at their November 18 show at The Factory Theatre. They’ve re-formed to promote Wonderful Things: Retrospective, which spans all their best ‘90s stuff. Buy it and learn all the words before the gig.

Bondi’s Beach Road is doing all the right things; serving beer in the sun, providing a place for the best looking people in Sydney to sit and stare at each other, and putting on some pretty excellent bands at night. FOR EXAMPLE: on Wednesday November 2, Super Wild Horses will be being super, wild and not at all horse-like, and on the Friday, The Aston Shuffle will be making you do some kind of pun-worthy dance.

recordings there. It feels like home now. For the live shows, we aim to make sure everyone has a really good time and gets dancing.

Music, Right Here, Right Now 5.

[Harrison]: The Sydney music scene is struggling. Someone needs to hit it with a defibrillator, because heaps of venues are shutting down. One of our very first shows was at the Hopetoun, which turned out to be one of the last shows there before it shut down.

Tone is gone, the Annandale is in trouble. That said, Oxford Street is seeing a bit of a revival, which we hope will last. We love going to see bands and there’s some great stuff out there. Sticky Fingers, Tales in Space, Conics and Taylor King are all breaking new ground, and it’s really cool.

What: ‘Lost Control’ is out now through Major Label Where: Oxford Art Factory When: Friday November 25

PRETTY PENNY

Melbourne rock songstress Penny Ikinger returns to Sydney to perform songs from her latest (and brilliant) record Penelope at The Square, Haymarket this Saturday November 5 with her backing band – none other than Radio Birdman legends Deniz Tek and Jim Dickson, plus John Fenton, the drummer from ‘90s indie powerhouses Crow. She also plays a solo show at The Roxbury in Glebe the following afternoon from 3pm – because two days of Radio Birdman backing you is too much for anyone to handle.

CAN’T FIGHT THE SEETHER

Ok, I’m trying to find out a little more information about the South African rock band Seether, who are going to be playing on February 5 at the Metro Theatre, and so far I have learnt that Seether is neither loose nor tight and Seether is neither black nor white…? Their latest single ‘Tonight’ is currently getting smashed on Triple M, their awesome record Holding Onto Strings Better Left To Fray came out in May, and you can grab tickets to the boys’ show from Tuesday November 1.

Bad Religion

TUNES FOR CHANGE + THE CAT EMPIRE

Tunes For Change is a wonderful initiative, a fundraising organisation that asks great Aussie artists to give up some music and then compiles it on an album every three months, and puts it online for you to buy by donation – with all proceeds going towards a different cause each time. The next Tunes For Change release, Asylum, has been put together in conjunction with The Cat Empire and features an exclusive collection of rarely shared and unreleased recordings by the band and the many branches thereof; Jackson Jackson, Felix Riebl, Harry James Angus, The Genie et al. All money raised goes towards the Asylum Seeker Resource Centre, the largest provider of aid, advocacy and health services for asylum seekers in Australia. So: great cause, great music, and you choose what you pay for it. Head to tunesforchange.org

BOY & BEAR THIS WEEK

Boy & Bear are blowing up so much right now that instead of finding out about their massive seven ARIA nominations from ‘Molly’s Melodrama’ on Hey Hey like the rest of us, they were told while they were touring in San Diego.

Don’t worry though, they’re coming back to their hometown Sydney to play a sold out show this Saturday November 5 at the Enmore – and a second show the following night, which will sell out soon. The band are launching their debut full-length record Moonfire, which is an absolute treat of a thing that really should have wormed its way into your earholes by now.

SOUNDWAVE 2012 MK II

Really? Like it wasn’t big enough the first time? That relentless crew at Soundwave went ahead and announced even more names for next year’s festival, including Bad Religion, Strung Out, Staind, The Pretty Reckless, Tonight Alive, Break Even and Dream On, Dreamer. These guys are going to be downing beers backstage with acts like System Of A Down, Slipknot, Limp Bizkit, Marilyn Manson, Machine Head, Angels & Airwaves, Thursday, Unwritten Law, Lamb Of God, Enter Shikari and a load more when the festival hits Sydney Showground on February 26. Melbourne just sold out, but there’s still a few (a FEW) tickets available for the Sydney leg – hurry up and buy!

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly and Steph Harmon

five things WITH

FREESTUFF@THEBRAG.COM Charles Walker

MADE IN JAPAN Your Group Jono, Tom and myself met at high school 3. and Andrew joined up a bit later, but he’s always been in our circle of friends. We’re all on the same wavelength in terms of musical taste and direction, so we don’t have too many rock ‘n’ roll stories of punch-ups and shouting matches. Not that we’d be prepared to share anyway... Save those for the unauthorised biography.

The Music You Make ‘Deam-pop’ probably best describes 4. how we sound, although at times we’re a fair bit louder than that would suggest. Check out the first single and title track from the album Sights And Sounds to see what I mean. Woody Annison (Red Riders, Children Collide) produced the record, and he definitely embellished our atmospheric side. We recorded the album live to tape, so what you can expect to see live is something faithful to the record, but much more noisy.

5.

Growing Up Neither of my parents play a musical 1. instrument, but my dad is an avid listener. He

Inspirations So many! Currently I’m really inspired 2.

by Toro y Moi and Tom Vek. In terms of older

lived in England during the early ‘80s, so he cultivated my musical taste with bands like the ‘Jam, XTC and Elvis Costello, which was a good start. It’s no surprise that when I first started playing drums I wanted to play fast all the time.

stuff, Slowdive and Smashing Pumpkins are some favourites. Woodface by Crowded House still regularly gets a spin and has done all my life. In terms of non-musical inspiration, living in Sydney is key.

Muscles, Adalita, Urthboy, Dan Sultan and Bertie Blackman.

Music, Right Here, Right Now The scene at the moment seems to be producing a lot of good music that’s uniquely Australian, which is nice to see; Jinja Safari and Oh Mercy are some good examples.

GoodGod Small Club is the best place in Sydney to catch good indie music – why do you think we’re playing there?

What: ‘Sights And Sounds’ single launch Where: GoodGod Small Club When: Thursday November 10

be all elbows in faces, and vocal boxes tearing, and who threw that bourbon on me? (Always bourbon.) Double kick your way to OzTix now.

ROKY ERICKSON TOUR

Poor Roky Erickson. With the 13th Floor Elevators, he recorded one of the best debut records ever in 1966, and three years later he was placed in a State Hospital for the criminally insane, for possession of a single marijuana cigarette (in fuckin’ 1969!), and was subjected to electroshock and other horrendous experimental treatments. It’s been a slow recovery, but last year saw his first album of new material in 14 years (True Love Cast Out All Evil, with Okkervil River as backing band) – and now he’s hitting up the Factory Theatre on March 14 to show it to you. Tickets on sale now.

ARIEL PINK’S HAUNTED GRAFFITI

Last time Ariel Pink was out here he danced around in a dress, mouthed off at the audience, and basically acted like a little prat, which made us

THE DYNAMITES + CHARLES WALKER

Tennessee has a lot more to offer the world than just a Sunsphere full of wigs – a LOT more. Take, for example, The Dynamites featuring Charles Walker. This seven piece funk and soul band had booties shaking and audiences screaming for more last time they were here, and you better believe they are ready to bring the funk back to our shores. The good times will be happening at The Basement on Saturday November 20, and if you’d like a double pass as much as we think you would, just tell us the name of the Nashville band’s latest release.

CLAP YOUR HANDS SAY YEAH

If you were to win a prize pack including gig tickets, a CD and a poster for Brooklyn band Clap Your Hands Say Yeah, we imagine your reaction would involve doing just as the band name suggests…This isn’t all empty talk; BRAG does indeed have said prize pack, which includes a double to pass to their Oxford Art Factory show on Monday November 14 AND a copy of their latest album Hysterical AND a neato poster. If this sounds like something you’d like in your life, tell us how you’d celebrate your win.

love him all the more; after all, he single-handedly kickstarted the chillwave/hypnagogic pop genre thing, which single-handedly soundtracked the most sun-speckled/sepia/glorious/miserable/ soul-crushing moments of your life (erase where necessary, kids!) – so he can do as he pleases.

‘Round and Round’ was voted Pitchfork’s Song of The Year last year, and he will probably play this and more at his March 2 show at Oxford Art Factory... maybe even while wearing a dress!

THE BON SCOTTS

Imagine what would happen if scientists used their cloning technology to revive Bon Scott and clone him into a band of replicas, letting them loose across Australia to wreak rock havoc on the nation. Either that horrific, dystopic eventuality is about to take place, or there’s a septet from Melbourne named after the singer who are heading on a tour around the country to launch their second album. We’re not sure which scenario it will turn out to be, but The Bon Scotts are billed for Thursday November 17 at the Sandringham... Don’t say we didn’t warn you.

First Aid Kit

STRAIGHT TO YOU: A TRIBUTE TO NICK CAVE

These tribute tours seem to be all the rage at the moment, with your They Will Have Their Ways and your Experience Hendrixes and whatnot. The next in line comes courtesy of triple j, in honour of Nick Cave and his 35-years worth of worship-worthy songsmithery – think Grinderman, The Bad Seeds, The Birthday Party and The Boys Next Door. ‘Straight To You’ kicks off Ausmusic Month, and will feature a bunch of great Aussie artists taking on some classic Cave, including Adalita, Alex Burnett (Sparkadia), Bertie Blackman, Dan Sultan, Jake Stone, Kram, Abbe May, Lisa Mitchell, Lanie Lane, Muscles, Urthboy and more, with surprises, duets and genre-clashing collabs. It hits The Enmore Theatre on Thursday November 17, tickets are on sale now, and no more shall we part.

LANIE AND LITTLE

If you put two tiny kittens in a box for four days and let them claw and stumble their way around it, with their little surprised, tired eyes looking all saucer-like, it would be almost as adorable as the pairing of Lanie Lane and Miss Little, who are playing the Vanguard Theatre four nights in a row this week; it’s happening November 2, 3, 4 and 5, and the Wednesday show isn’t sold out yet! If you aren’t familiar with Miss Little, Neil Finn is a huge fan of her voice, lyrics and melodic sensibilities – that enough for you?

Jack White loves Lanie too, so if classy men with impeccable taste can’t convince you to go, remember that thing we said about the cats…

ARCTIC MONKEYS’ SECOND SHOW

Anyone who has ever tried to fit six people, all eating kebabs, into the back of a cab will relate to the work of the Arctic Monkeys. (Although 8 :: BRAG :: 436 :: 31:10:11

I’ve read 1984 back to front, and I still cannot find the scene with the dancing robots...)

Speaking of the lads, they’ve just announced that, in addition to their sold out January 12 show at the Hordern Pavilion, they are playing a cheeky Enmore show the following night. And they are getting better, too! Have you see the video for ‘Cornerstone’? Best! It’s on sale from November 7. Put it in your diary, innit?

AFTER THE FALL

The best song Tim Freedman ever wrote opens with the phrase “after the fall”, so now whenever I read the melodic hardcore band’s name, I imagine Freedman singing this line mournfully from a piano stool at The Sando, reminiscing over lost love after an afternoon vino... None of that sentimental bullshit will be occurring on November 19 when After The Fall play the shit out of Hermann’s Bar, alongside Easy Company, 10 Paces and True Gentlemen – it’ll

FIRST AID KIT

Swedish folksy two-piece First Aid Kit look like the kind of lovely sisters you would meet in that sleepy little caravan park your family goes on holidays to every year (you know the one), and at first you follow them into the woods because they invited you to hang out and you figured there’s nothing else to do until the Zooper Doopers freeze properly, plus it’s too hot for tennis. Then they start talking about black magic and witchcraft, and before you know it you’re ripping apart a goat’s carcass to drink the blood, and wondering where things fell off the rails… They sing warm, woodsy folk-music too, which makes everything I just typed even creepier. First Aid Kit play The Standard on March 15, with tickets on sale from this Friday – and they’re actually very talented ladies who make quite incredible music.

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The Music Network

themusicnetwork.com

Music Industry News with Christie Eliezer

ZUNE MUSIC PASS ARRIVING

Lifelines Recovering: John Mayer, from surgery for a non-cancerous growth called a granuloma that was located just above his vocal cords.

Recovering: Aerosmith singer Steven Tyler’s shower accident in Prague, in which he lost two teeth, was blamed on dehydration due to food poisoning.

In Court: A US judge spared Michael Jackson’s former general manager Raymone Bain prison time for failing to file her 2006 to 2008 taxes. The prosecutor wanted her jailed for 18 months as a message to tax evaders, but Bain tearfully explained she was overwhelmed looking after the singer’s business affairs as well as those of her dying mother.

In Court: Kevin Liverpool, 34, one of the two men charged with trying to kidnap and murder Joss Stone, pleaded not guilty in the UK's Exeter Crown Court.

Another man, Junior Bradshaw, 31, did not enter a plea.

In Court: Grezgorz Matlok, 30, who thought he was in a relationship with Madonna and kept breaking into her London house, will be detained indefinitely. A court earlier deported him back to Poland, but he returned and again broke into her house, rifling through her bedroom.

WHAT SYDNEY WANTS AFTER DARK The City of Sydney unveiled the first look of the City’s Late Night Economy Policy with the launch of its new night time Discussion Paper. It calls for more public transport through the night; extended trading hours for retail, museums and libraries; more outdoor venues for pop-up events; more options for late night quality dining; more visible policing; 24-hour services like pharmacies, gyms, supermarkets, hairdressers and health clinics; live music in libraries and car parks; lit up sculptures, monuments and buildings to make the city more welcoming; using shop windows as spaces for displaying artworks; and new ‘what’s open’ and ‘what’s on’ after dark smartphone apps and websites, supported by more wi-fi hotspots. The draft of the discussion paper is called Open Sydney: Future Directions For Sydney At Night, and can be viewed at sydneyyoursay.com.au/ nighteconomyphase2.

The City of Sydney consulted with residents, the liquor industry, retail, emergency services residents, visitors, tourists and clubbers between April and June. On online forum drew 7,000 visitors. “Sydneysiders want a city where getting a haircut at midnight is as easy as getting a quality meal or a drink, and where a stroll through illuminated streets and parks could take you past buskers or actors reciting Shakespeare,” Lord Mayor Clover Moore said. “We want Sydney after dark to be the envy of any city in the world.

Sydney’s night time economy has boomed over the years, but infrastructure and services just haven’t kept pace.”

Microsoft’s Zune Music Pass will launch as a subscription service on November 16 with 11 million tracks. It will cost $11.99 per month or $119.90 a year, for streaming on, and downloading from, Windows Phone, PC and Xbox 360 devices, said David McLean, Microsoft Australia’s director of the Consumer Channel Group. Half of the 1.4 million Xbox 360 consoles sold in this country were connected to its Xbox live online subscription service.

I SHOULD BE SO LUCKY BBC staffers are spitting chips that the broadcaster offered Kylie Minogue £1 million (A$1.54 million) to be a judge on new singing show The Voice — at a time when it is cutting costs by shedding 2,000 jobs. She had wanted £2.5 million (A$3.85 million). Reports say Jessie J and Tom Jones are also going to be judges on The Voice – but Kylie’s fee might put an end to Will.i.Am joining as coach.

BLUEJUICE VID Bluejuice’s ‘Act Yr Age’ has been generating some negative vibes — NineMSN and the Sydney Morning Herald asked if it was the “grossest music video pash of all time”. But it’s getting the band good attention. Over 2000 folks shared the clip on Facebook two hours after its release, it clocked up 79,000 YouTube views in its first week of release, and it was the most played vid on Channel [V]. The track was also the most played on triple j for the week, and was #1 requested on j’s Super Request.

JEZABEL ARTIST DOYLE EXHIBITS Internationally acclaimed Chris Doyle, whose photography and design has defined The Jezabels’ aesthetic, is holding an exhibition at the Mart Gallery in Surry Hills from December 8 to 14. Fans of the band can see the images in their original form as large format prints, framed and for sale, along with unreleased artwork and test shots. Jezabels’ guitarist Sam Lockwood says, “With our releases, he has repeatedly been able to understand the underlying message of our music, as well as our somewhat strange musical aesthetic.”

APRA NAMING RIGHTS PARTNER FOR TROPSCORE Tropscore, the musical element of Tropfest, secured APRA as naming rights partner for next year. Tropscore invites an original musical score or synch for a three minute short film called Returning by new filmmaker Amelia Olsen-Boyd. It can be downloaded from www.tropscore.apra.com.au – and the deadline is Thursday January 12. The winner gets $5,000 cash from APRA and has their score performed in front of thousands at Tropfest mid-February. 2009’s winner Pluto Jonze recalled that playing the score live was not only “something I will never forget,” but provided the confidence for him to cut an EP.

GOOD WORK #2: MMAD’S GOLF DAY Musicians Making A Difference (MMAD) will host a charity golf day with some Central Coast business owners to raise funds to help underprivileged and emotionally traumatised young people overcome adversity through creative therapies. The inaugural Breakthrough MMAD Golf Classic is being held at Kooindah Waters in Wyong on Friday November 28, and entertainment includes Sally Singleton and The Royalty Crew. To sponsor a hole, join the luncheon, or to play, email annette@mmad.org.au, or contact 4322 5350.

VALE DAVID GILCHRIST Sydney-based record label executive David Gilchrist lost his battle with cancer last week, aged 62. He worked at EMI Music Australia in sales, promotion, A&R and marketing between 1976 to 1992, before relocating to Hong Kong to oversee marketing for EMI’s Southeast Asian operations. He returned to Australia for a job at Warner Music Australia, as Senior VP of marketing, and he worked at EDC. He was also a tireless worker for the music business’s Golden Stave charity.

HELPMANNS STAY IN SYDNEY The Helpmann Awards, staged by Live Performance Australia, will stay in Sydney for a further three years after a deal struck with Destination NSW. “This is a major coup for Sydney, and it is another indication that NSW is back in the business of staging major events,” said Minister for Tourism, Major Events and the Arts, George Souris.

DAVE STEWART IN CONVERSATION To celebrate the launch of Song Summit 2012, APRA and Kobalt Music Publishing Australia are putting on a ‘Dave Stewart In Conversation’ session. The Eurythmics co-founder will talk of his career from 2pm on Tuesday December 6 at Domain Theatre, Art Gallery of NSW. Tix are $55 from apraamcos.com.au

NEW EMPIRE WIN WILD CARD New Empire received the only Wild Card (fan voted) nomination for Channel [V]’s annual Australian Artist of the Year award.

This sees the Sydney band battle it out against the likes of Boy & Bear, Tame Impala, Jessica Mauboy, Jebediah and The John Butler Trio among many others, to win the coveted title of Australian Artist of the Year. The announcement will be made on Saturday December 10.

ROUND 22 OF TOURING PROGRAM OPENS Round 22 of the Contemporary Music Touring Program is now open for applications. It provides opportunities for acts of every style to get on the road — rural and regional tours are a priority.

Guidelines have changed, so check out the website. If you have any further questions contact the Contemporary Music Touring Program Secretariat on 1800 819 461 or via email: music.touring@pmc. gov.au. Deadline is Friday December 2.

Round 22 is the first to be assessed by the contemporary music subpanel of the newly-formed Regional and Touring Arts Programs Expert Assessment Panel. The members are artist, manager and producer Graham “Buzz” Bidstrup (who is the chair), composer, pianist and Adelaide Festival director Paul Grabowsky, Millie Millgate (Export Music producer at Sounds Australia) and Nokturnl co-founder Damien Armstrong.

MORRISSEY LIBEL TRIAL GOES AHEAD The High Court ruled that Morrissey’s libel action against the New Musical Express can go ahead. Mozza is suing over a 2007 article, in which he was quoted as saying that Britain had lost its identity due to an influx of people from other countries. The singer says his words were distorted. His lawyer told the judge it had taken four years to get the lawsuit going because Morrissey’s former manager Merck Mercuriadis, from whom he split in May 2008, had not been cooperative.

In the meantime, UK football’s hard guy Joey Barton — he reportedly stubbed out a cigar on a team mate’s eye — says that he is focussing on getting The Smiths back together after 25 years, as the other Manchester institution Stone Roses decided to return (and are tipped to be here for Splendour). He’s close friends with Mozza and Johnny Marr, and is determined to pull it through, even though pair say they turned down an offer of £40 million to re-form.

Metallica

2GLF REMAINS IN LIVERPOOL Community radio station 2GLF will remain in Liverpool after being evicted by the council from its Macquarie St School of Arts base in August. Its members have decided to buy a property in Liverpool, and are currently talking to a vendor. “We won’t get another knock on the door telling us to leave,” said chairman Eddie Diwakar. “The building will belong to us and the community.”

WANNA PLAY GUM BALL FESTIVAL? The Gum Ball Festival is looking for applications from artists and stall-holders for its 2012 event. It is going to be held on April 27 and 28 in the 2,000-capacity bushland property ‘Dashville’ at Belford in the Hunter Valley. Applications are open until the end of November. Gum Ball will showcase 24 acts on two stages under the stars and amongst the trees. First round of tickets go on sale on November 16, and first lineup announcement will happen mid-December; see thegumball.com.au

GOOD WORK #1: CHORDS FOR CAUSES Chords For Causes’ first event, Breast Cancer Unplugged, raised $6,000 for the National Breast Cancer Foundation. It was held October 21 at the Gaelic with bands and organisers donating their service (even the bar staff donated their tips on the night).

Chords for Causes is the newly created notfor-profit division of Vivace Events. It will

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stage more events for different causes, with Breast Cancer Unplugged planned as an annual event every October.

THINGS WE HEAR * Metallica are self-financing a 3D movie about themselves, and enlisted Journey To The Center Of The Earth producer Charlotte Huggins to help. * Plans by US online content distributor Netflix to launch in Australia are on hold.

Its share value slumped by 40% after it revealed it lost 800,000 subscribers in the third quarter. Google and Amazon are tipped to buy it, and both are expanding their Aussie operations. * Due to low sales in Sydney, Robert Rigby’s Newtheatricals has delayed the January opening of the Rock Of Ages musical. A new date has not been specified. The show finishes in Melbourne this weekend and is in Brisbane from November 12. * The latest on the EMI sale is that owner Citibank will go ahead with it, despite lower-than-expected bids. * The Black Keys’ Dan Auerbach opened up in GQ about how their win for Breakthrough Video at the MTV awards

was marred when their trophy said Black Eyed Peas by mistake. “I was just like, Wow. A channel that’s never respected us or played us to fuck us like that? [laughs] I mean, MTV is kind of a joke now anyway — what’s more funny than that?

We figured that we should get proper ones made with our names on it, because in 20 years, nobody’s going to know who the Black Eyed Peas are.” * Soundwave 2012’s Melbourne show (March 2) has sold out, with Sydney and Brisbane soon to follow, the festival says.

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The

Grates Brisbane’s Favourite Brats Are Back

By Caitlin Welsh

S

o much of the writing about The Grates in the first few years of their existence featured descriptors that one would associate with a kid’s birthday party – energetic, gleeful, hyperactive, hypercolour fun fun fun.

None of it screams “serious musician”, but then for all their wild success and passionate fans and catchy-as-fuck brat-pop, they never seemed that serious about it themselves. So it came as a little bit of a shock when, earlier this year, the news emerged that longtime drummer Alana Skyring had left the band, remaining members Patience Hodgson and John Patterson had hopped off to NYC to record a new album – and that it was going to be a bit darker-sounding this time around.

Part of the surprise was that Skyring had already been gone for months. “We didn’t tell everyone at the start, because why have two meetings when you could have one?” explains Hodgson. “I just didn’t feel like uprooting people without –” “Without something new to offer,” interjects Patterson. “Yeah,” Hodgson agrees. “Like, ‘This has happened, but don’t worry!’ Because it was a massive deal for us, and we were still really confused… We didn’t even know if we were going to continue on as The Grates. We didn’t really know what we wanted to do, and it took a while to figure out.

We just didn’t want to tell anybody before we’d grasped what was going on.

“It was totally just like a divorce – you’ve got to have it sorted out on your own terms before you can tell anybody. It was a big thing for her, and for us. But we all came together as friends at the end of the day, so it was the right thing to do,” Patience says. After Skyring had told the band her decision, the Grates took a small final tour around the States together. “It gave us a chance to reflect, and

12 :: BRAG :: 436 :: 31:10:11

“We’re still stuck in this world that’s pretty much just like school holidays after year 12. You’ve got no real responsibilities, and you can just hang out all day.” have fun, and do things on tour that you take for granted sometimes,” she explains. “And then when [we’d] made that decision that Alana’s not going to drum for us anymore, we weren’t taking things for granted anymore...

And it was good just to make sure that it was the right thing to do. Like, you don’t want somebody to leave the band and have that be a massive statement – and then go on tour and change your minds. So that was a really good way to make sure.”

Secret Rituals, the new album, certainly sounds a lot more muscular and maybe even more musical than ever before. The guitars are thick and thrumming, there are a lot fewer made-up words, and Hodgson’s voice, rather than just her persona, is at the centre of it all. The pair say that Skyring’s absence allowed – or maybe forced – them to concentrate more on songcraft, without the rain of blithely-battered drums drowning out the nuance. (They’re quick to add that it’s not better, just different.) “When we got [to New York] we didn’t feel bound to write the same music – even though, organically, I think it very much did change just by having more space in the band room where you could find out things, and just experiment a lot more, I think,” muses Hodgson. “But even with saying that, there were elements that were bound to change just because we mixed things

up so much. We definitely did want to write a different album – we didn’t want to write something that sounded like Gravity or Teeth Lost again. We wanted to write something different.”

Nowadays, much of the writing about the Grates features phrases like “The Grates grow up!” and “mature sound” – that classic thing where people mistake progression for maturation. Hodgson rolls her eyes at the very mention of it. “I just think it’s weird when people say [we’ve] ‘grown up’. Because I feel like, y’know, we’re in a band – and the last thing I want to hear is that my favourite bands have grown up. Like, ‘Oh, The Vines have grown up’ or ‘The Foo Fighters have grown up’,” she explains. “You don’t want them to grow up – you want them to keep making music. So I always feel weird whenever that’s brought up.”

They’re equally stumped by assertions that Rituals has some kind of “New York Sound”, or is somehow more sophisticated. As far as they’re concerned, they’re still Brisvegas ratbags. “Most of the music I was listening to in New York wasn’t mature or sophisticated – it really sounded like shit,” shrugs Patterson, and Hodgson agrees: “The funny thing is that heaps of what was cool in Brooklyn – all the best bands – reminded me of Brisbane.

Brisbane has this happy disposition, but a sloppy, slack, garage kind of sensibility. I even hear it in The Go-Betweens, especially with their early stuff, it’s just so ‘Brisbane’.

Things are slightly out of time, no one really cares. And then there’s [Brooklyn] bands like The Babies, and Total Slacker, Vivian Girls, Darlings – something about them reminded me of Brisbane music. And then you come back to Brisbane and hear something like Velociraptor, and I’m like, ‘That’s what’s happening!’ I definitely saw weird reflections being in Brooklyn and being in Brisbane. And when I got back to Brisbane, it just reinforced the parallels in the underground scene.”

Even as Secret Rituals draws praise from critics, and The Grates’ live shows prove as raucous and sweaty as ever – just with a blacker edge – the duo are in no rush to feel like “serious musicians”. “We’re still stuck in this world that’s pretty much just like school holidays after year 12,” says Patterson with a grin. “You’ve got no real responsibilities, and you can just hang out all day.”

“You have none of those responsibilities that come with real jobs,” adds Hodgson. “Friends of ours are nurses, and I feel like they’ve grown up while I’ve stayed at Schoolies. It feels like that on tour, sometimes. [We’re like] the Kings of Schoolies Week – mini-Schoolies weeks all over Australia, and no one knows that they’re attending because it’s disguised as our gig.”

What: Secret Rituals is out now on Dew Process, through Universal With: Last Dinosaurs, The Medics Where: The Metro Theatre When: Saturday November 12

LIVE LATIN BAND COMPETITION

BRAG :: 431 :: 31:10:11 :: 13

Husky From History To Forever By Benjamin Cooper and album completion. “There’s almost a kind of woodshedding vibe to [growing a beard], you know? You go into a place and you’re cut off from the world completely until you finish the thing. And then it’s done. I’m not sure I can explain it... I just – I grew a huge beard, alright? It was an amazing beard; I can’t seem to make it grow in length, but it’s certainly got the thickness. It was flourishing, let me put it that way.”

Although historically Husky has revolved around its frontman, the online clip of second single ‘Dark Sea’, performed live in the beautifully cavernous Mission To Seafarers building in Melbourne, demonstrates the relentless cohesion of all four bandmembers.

The track runs at a little over three minutes, but seems over before it’s begun as the band harmonise and haunt out the track with only vocals, one guitar, and some messy percussion. “That was an awesome space to perform in, it was such a privilege to be there,” Gawenda says. “It ended up sounding really nice.” Elsewhere, songs are inhabited by the kind of minor chord manipulation borne solely from intent. That sense of relentless drive, and the brain smarts to pull it off, is what distinguishes Husky from so many others who labour under the dreaded ‘indie folk’ tag.

T

here’s a restlessness within Husky Gawenda, frontman of Melbourne’s lush popsters Husky. “It’s just that we finished recording the album at the end of last year,” he confesses. “I’m keen to just get it out there!”

Gawenda is playing the waiting game, getting ready for a national tour launching Husky’s debut album Forever So, which was finally released this month. “At the moment I’m kinda camped in the lounge room, relaxing,” he tells me down the line. I ask if he’s tired yet of interruptions by the relentless music press, who’ve been hyping this release since his band signed to Liberation in August. “To be honest, this is the first interview of the day, and I’ve just had something tasty to eat – so let’s go!”

For Husky, it started with ‘History Tour’, the independently-released single which won the band a triple j Unearthed competition earlier this year. The win allowed Husky to

play Melbourne’s Push Over festival in March, alongside local favourites Oh Mercy and Children Collide. “Everything that happened around then was pretty nuts. We had just come back from America, finished the album, triple j happening... There was just a really big jump in momentum at that point.”

The time spent late last year in America introduced the band to producer Noah Georgeson (Devendra Banhart, Joanna Newsom), who was enlisted on mixing duties.

We discuss his experience of the States, and the conversation quickly turns to the standard of beards; the hirsute Gawenda asserts that his had been in the works for a while. “I’ve always been a bit of a facial hair guy,” he explains. “The beard for me started before the States, when we were recording the album in my house.” In fact, he says, there are parallels to be found in the process of beard growth

Getting picked for the Laneway Festival bill usually brings a fair share of back-slapping and waa-hooing, and for Husky, the initial excitement of the 2012 announcement shows little sign of fading. “We have known for a little while; obviously before the announcement we’d heard we were being considered [for the lineup]. So it’s still very awesome, very exciting news,” he says. When asked of his opinion regarding the overall lineup, Gawenda is honest in his praise. “Obviously the [festival] programmers really go for what are considered the hype bands at the moment. I guess what impresses me about the lineup is that there’s really good quality – even the not-as-hip bands are still very, very high quality acts.”

Given the short time which has passed since the explosion of ‘History’s Door’, it’s something of an understatement when Gawenda tells me the band have “done a

“You go into a place and you’re cut off from the world completely until you finish the thing... I just – I grew a huge beard, alright?” lot of tours”. 2011 has already seen the band support Devendra Banhart, Noah And The Whale and Jinja Safari around Australia, and November sees them headlining their own tour of the East Coast and Perth. Gawenda is looking forward to the freedom afforded by a headline tour: “We can run it a bit more how we want, throw about all different set-ups.”

But he’s also quick to note the importance of festivals to Australian audiences and to local bands. “Laneway is definitely the biggest festival we’ve ever done; we’ll be launching our record on the biggest stage [yet], come Laneway.”

And after that, what’s the plan for the future?

World domination? “We’d certainly love to take [the album] to other places, internationally – but it will depend on a few things and they’re probably things that are out of our control, in terms of what the four of us can actually do. But the album has been finished for almost a year, so we’re just really excited to get it out there, on the road!” And, importantly, what about the beard? “Look,” he says after a pause, “I don’t want to ruin the surprise for everyone, but... it’s growing back, man. I’ll have it all up to speed by summer, definitely by the time the festivals come around – don’t you worry!”

What: Forever So is out now through Liberation Where: The Standard / Brass Monkey, Cronulla When: November 12 / November 13 More: Also playing Laneway Festival 2012 alongside Feist, Laura Marling, M83, The Drums, The Panics, Wu Lyf, Total Control and more on Sunday February 5 at Sydney College of the Arts

Clap Your Hands Say Yeah News From The Barnyard By Dermot Clarke

G

iven the multitude of side projects that the various members of Clap Your Hands Say Yeah are involved in, they’ve kind of re-emerged without warning with Hysterical, their third album in six years, and an impending Australian tour. And it turns out there was a point where Hysterical might not have eventuated at all; up until six months ago, the band had no plan to follow up on Some Loud Thunder. “I don’t think anybody even had any idea that we were going to release a record. I don’t think there was anybody talking at all. I think everybody had figured that we were not going to,” vocalist Alec Ounsworth explains, in a way that makes it hard to decide if he’s being nonchalant or just bored. “Before the six months leading up to [going] into the studio, I don’t know if I really knew what was going to happen.

We had all kind of reconvened, but I couldn’t tell.

I couldn’t tell if we were going to be available, or if we would actually want to do it.”

This uncertainty is part of the band’s appeal, existing as they do in a kind of piecemeal universe of fragmentary ideas, concepts and chance opportunities. Alec can’t even be sure if his recent solo record Skin And Bones bled into the writing of Hysterical. “I guess it must have in some way, but I didn’t approach it in the same way,” he says. “I mean for one thing, I knew who I was playing with. You know, they have their own way of doing things, so it’s going to turn out differently. I tend to try to react to how other people approach a relatively simple idea, and then move on from there... These days it’s a little bit different,” he continues. “The stuff that I’m trying to put together probably doesn’t leave too much room for outside consideration.

But that said, everything just changes as we go along. That’s the nature of making a record.

Plan to be surprised, I guess.”

Alec conveys his thoughts in such a calm, measured fashion that one wonders if he’s doing nitrous bulbs to mask some monster anxiety attack, or if this band really just didn’t have any concept of pressure while making Hysterical. “I think the only pressure that might have come about was the idea of kind of recapturing that style that we had naturally, I suppose, when we 14 :: BRAG :: 436 :: 31:10:10

“I don’t think anybody had any idea that we were going to release a record. I don’t know if I really knew what was going to happen.” began,” he explains. “That is to say, the pressure of making sure that there was in fact something that held us all together. And that took a little bit, especially after taking some time off – it took a second to understand why the project was special, and to understand how to make it so again.” What eased this process, and added some focus, was a rehearsal space that Alec had set up, simply known as ‘The Barn’. “We had been working on this material [for a long while], and I had been recording what we had been doing in the Barn, and I think we had gotten through the stages of ‘exhilarating’ and ‘boring’ and etcetera etcetera while there. So by the time we got to the studio to actually put it down, it could only kind of ramp up. We knew that we were really doing it for real, you know what I mean? So it started to come together and actually make sense overall, rather than the bits and pieces which was kind of what I was doing.”

A really striking aspect of this album is just how far removed it is from the shambolic circus of their breakthrough debut. The pop moments are more streamlined, and as the layers of noise peel away, a flowing dreamscape quality takes hold. A current standout is ‘Ketamine And Ecstasy’, which beautifully lines up the extremes of a form of living death with a compressed sense of happy life. “I like that – and somebody else has pointed that out,” Alec says. “That’s very much the case. On a relatively simple level, that song has more or less to do with the idea of self-medicating to distract oneself from what’s going on. That idea is, relatively simply, to represent both sides of the same coin.”

Decent records with layered depth have a tendency, over consecutive listens, to construct mental imagery. So it came as a shock to view some of the clips the band have posted on their site, known as ‘The Barnyard Sessions’. The clips clashed with this strange little world that my mind’s eye had built. “Yeah... it was just a bunch of guys in a barn,” Alec laughs. “I’ve had conversations with friends of mine about preserving that sort of dreamscape quality. It’s like to imagine David Bowie doing Low and Heroes, wearing a Ziggy suit and holding a cigarette during every song…

Beck doesn’t do it on his own records, but I don’t know if you’ve seen those sessions that he does at his studio? Where they cover other people’s records? He sort of pulls away the mystique and

the magic of what happens in the studio, but at the same time, for me at least personally, it’s very revealing. It does capture the performance, and also it’s not overdone, it’s not overcooked. That’s actually how it is. For me, that sort of thing is interesting. In a way, the dreamscape quality comes from somewhere else. It doesn’t come from necessary imagery.”

What: Hysterical is out now through V2 Records Where: Oxford Art Factory When: Monday November 14 More: Also playing at Harvest Festival with The Flaming Lips, Portishead, Bright Eyes and more on Sunday November 13 at Parramatta Park

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Kill City Creeps Fast And Fun By Mikey Carr

F

orming recently out of a series of conversations in the bandrooms and bars of Sydney’s music scene, Kill City Creeps have taken the harbour city by storm over the past few months; their single ‘I Got A Letter’ off their recently released five-track EP has won plenty of airplay on triple j, as the band have built a reputation for incendiary live shows. Led by former Dolly Rocker Movement frontman Dandy Lyon – now going under the name Daniel Darling – with Knives and Mon Cherie (from local stoner rock powerhouse Dora Maar) and lone gun Nina B rounding out the lineup on guitar, drums and organ respectively, their sound holds remnants of their old projects, but with a fresher aesthetic and a punched-up attitude.

Drawing heavily from both ‘60s garage and ‘70s glam, the music nevertheless retains a contemporary edge, the whole project speaking very much about the here and now.

“We’re living in an age where innocence and naivety is lost at the touch of a finger,” Dan explains. “There’s a sense of boredom and staleness in the modern day due to everything being over-spent, played out and misguided. As a band, we have our own little rebellion against it all, and sometimes with a bit of a chip on our shoulder – but we are a product of this day and age, and what we’re doing is tapping into the fun, dark and dangerous side of this otherwise quite conservative society.”

Their roots may lie in the pubs and warehouses of the inner west, but the band are getting set to move into new territory for their residency at Upstairs Beresford, where they’ll play every Saturday night in November. While it represents quite a shift in terms of audience (and their audience’s tax brackets...), the band aren’t the least bit nervous, with Dan sounding positively eager at the mention of the prospect. “Nah,

playing to different crowds is the best,” he enthuses. “It’s nice to have the opportunity to give something different to people and to get different reactions.”

This enthusiasm, so often on display when speaking with Dan Darling and the rest of the band, drives Kill City Creeps’ musical process as much as it does their progress. They take it all very seriously, rehearsing regularly and paying close attention to all aspects of the band, from recording quality to on-stage attire – but at the heart of it, they’re all just fans of the genres that inspire them. “I believe you don’t choose a genre of music as much as it chooses you,” Dan explains. “It’s just one of those things; you hear it, and if you start pulling your hair out saying ‘holy shit this is amazing!’, then that’s going to have a long lasting effect.”

Uncomplicated in structure and melodically accessible, theirs is a style that sits in a visceral field rather than an intellectual one.

As Dan puts it, the music is just a simple mixture of “sound and words that flow together to spark some kind of kick in the imagination”, and it need not be anything more. Rock‘n’roll has always been an artform based on simplicity, on doing what you can with what little you have, and Kill City Creeps do just that. “It’s not a complex or well-thought-out process when it comes to writing songs, especially rock’n’roll,” Dan explains. “I reckon that’s why the formative years of rock’n’roll happened so quickly; it’s fast and fun and there’s no rules. It’s a form of escapism. A good beat, some catchy chords and simple words are a good recipe for some serious dancin’!”

Where: Upstairs Beresford When: Every Saturday night in November

Witch Hats Less Caps Locked By Greg Clennar

B

reaking free from the crutch of gritty noise and reverb and opting for glossier productions will almost always expose a punk band for either the better or the worse. If you’re like Melbourne quartet Witch Hats, finding a happy median between the two is undoubtedly a step in the right direction.

“The first album we recorded quite well,” says frontman Kris Buscombe, during his work break.

“Just over time, looking back, we kind of reacted against that idea, and went back to a rougher sound for the EP we did [afterwards], Solarium Down The Causeway [2009]. I guess Pleasure Syndrome is somewhere between the two… We didn’t spend a lot of time cleaning it up… We like to keep all the dirty bits in there.”

The band’s latest release, Pleasure Syndrome is an exploration into new terrain for Witch Hats, as they try to come to terms with matching their lo-fi sound with “slicker productions”. Fortunately, Dirty Three and Tortoise producer Casey Rice was there to guide them – although Buscombe maintains he has a “hands-off” ethic that worked seamlessly with the band’s own approach. “He was just there to facilitate what the band was doing,” he explains. “We had very clear ideas of how we wanted to record… We’d done a lot of pre-production ourselves and recorded tons of demos, so we didn’t really need a lot of guidance – we just needed someone to run the studio. As far as that goes, he was a very good person to work with.”

Divulging that Witch Hats originally started out as more of a platform for thoughtless jam sessions, Kris tells me that their approach to songwriting has evolved with their own maturity and experience. “I guess it started off as a bit brattier, musically. There wasn’t a lot of thought going into the composition or the style of music

or anything like that… It was just a bit more off-the-cuff. [Lately] it’s become a little more considered. We’ve become a bit less caps locked.” But while his songwriting may have become more measured, Buscombe tells me that the band still try not to ascribe themselves to any particular trend or fashion. “There isn’t a lot of consideration put into direction at all, it’s a very natural thing – something you’re only conscious of when you look back at what’s been created afterwards.” After releasing their new LP, the band subsequently lost lead guitarist, Tom Barry, replacing him with longtime comrade Robert Wrigley. “[Barry] decided that he was going to focus on his other band Paradings,” Buscombe explains.

“We had been tentatively lining up a guitarist, Rob… He’s turned out to be a great asset to the band, he’s settled in really well. We love playing with him.”

In support of Pleasure Syndrome, Witch Hats will be playing headline shows in both Melbourne and Sydney. And hearing of Kris’ love for live performances and the excitement that Sydney crowds stir in him, it may prove to be a show to remember… or not. “It’s a lot of fun to play live – we’re a bit idiotic and tend to get very loose, usually with lots of alcohol involved… We just like to bash it out,” he says. “People are generally more excited to see you play when [you’re] not playing to the same crowd over and over again.

You guys don’t get to see us as often, so it’s a bit more exciting.”

What: Pleasure Syndrome is out now through Longtime Listener With: Circle Pit, Lost Animal Where: The Gaelic Club, Surry Hills When: Saturday November 5

Clave Contra Clave Battle Of The Bands By Micky Rennie

“W

e want this competition to inspire local bands to record original albums in Australia, not just covers of the classics. Otherwise we’ll never win an ARIA. It’s really important for the growth in general of Latin music in this country,” says Gustavo ‘Gus’ Cereijo. We’re talking as the heats rage on for Clave Contra Clave, Australia’s first ever live Latin band competition which will see a panel of international Latin music stars travelling to Brisbane, Sydney and Melbourne to judge, including former members of The Bueno Vista Social Club and The AfroCuban Allstars. The event is not just a celebration of Latin music and culture; according to the crusading Cereijo, it also marks the start of an annual movement to keep Latin music alive and well in Australia. “We’ve [seen] some really exciting local acts including Sydney’s Afro-Cuban Elite, featuring Armanditio Garcia, Canberra’s sensational 13-piece Mi Tierra, and the recently formed cumbia-reggae ensemble Cumbiamiffin. It’s also a great opportunity to bring musicians together that have been playing this Latin role in Australia for some time, and give them the recognition that they deserve.

“In a social sense, Latin culture is thriving,” Cereijo continues. “There’s been a steady increase in demand for Australian people to join Latin dance academy classes because it’s a lot of fun and a great way to meet people. But they dance to music that’s been produced overseas.

We need to not only save the local bands, but encourage and support them to produce original music, because there’s absolutely no reason why we can’t do it here.”

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The competition features 16 local acts touring through Brisbane, Sydney and Melbourne. As part of the rules, they must have eight or more members, must have been together for longer than one year, and must have submitted at least one original song. “Latin music in Australia is strong, in the sense that when people wanna party they book Latin music, but when they book it they hire only four or five musicians, and it’s just impossible to get an authentic sound. A good Cuban band will have 12 to 16 members. That’s another reason why it’s harder in Australia. These bands are dropping off because it’s too hard to make money when you split it across all the members – and if you can’t keep the bands together, then it’s impossible to record albums.”

The event is being organised by Gift Abroad QLD, who have put up the winning prize of $10 000 plus air travel for two band members to fly to Cuba, where they will take advantage of the Latin/Australian networks that have been building over the last ten years. “[In Cuba], everyone knows each other… All day you’re speaking their language, eating their food, playing their music and dancing. But here, the country’s so big that you can go ten years without even knowing your neighbour.

Our hope is that [the winning artists] can then bring that Cuban experience back to Australia and record an album.”

Five acts will be selected from the heats to go straight to Sydney, culminating in one

hell of a party at the Hordern Pavillion this Saturday November 5. It’s not only the finale of the competition, but also an opportunity for Australians to sample the international talent of the supergroup ‘The Legends of Cuba’: Felix Baloy from the Buena Vista Social Club and Afro-Cuban Allstars, Sixto “El Indio” Llorente of Manolito y su Trabuco, Orquesta Aliamén, and Mamborama. They will be playing with Gus’ 11-piece band, Chukale, who have just finished work on their album Expedition.

Gus is optimistic about the outlook for Latin music in Australia. “12 years ago was the

first Bacardi Festival in Sydney, which is a big celebration of Latin music. This year there was up to 20,000 people there, you couldn’t move! So the enthusiasm’s there,” he says. “We’ll get there – it’ll just take time.”

Who: Sydney’s Afro-Cuban Elite (Syd), Mi Tierra (Canb), Furia (Melb), Orulas Crew (Melb), Peligro (Melb) and The People’s Choice winner With: The Legends of Cuba and Chukale Where: Clave Contra Clave Grand Finale @ The Hordern Pavilion When: Saturday November 5

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Zola Jesus Impulse Control By Alasdair Duncan Personally, I feel that songwriters like Max Martin are often underrated because they’re working in a popular medium that most don’t consider as ‘art’ – and Danilova agrees. “The thing about pop music is that it’s the most produced music,” she says. “When you listen to a pop song and deconstruct it, you’ll find that it’s way more sophisticated and intricate than you would think. You can have ten different producers and songwriters working on a single track, and everyone will have their own piece, and every second of those three and a half minutes is fleshed out. I find it overwhelming and fascinating how much content is in some of those songs.”

I

nterviews with Nika Danilova often read like college dissertations, with journalists asking all kinds of complicated questions about avant-garde composer Stockhausen and cultural critic Baudrillard. Danilova’s intellectual pedigree – she recently completed studies in French and philosophy – is actually a little intimidating, and as soon as we’re introduced, I admit to her that I’m probably not going to be asking the high-brow, serious questions she’s used to. “That’s great!” she says with a welcoming laugh that takes me by surprise. “I’m sick of talking about that stuff anyway!”

The music that Danilova makes with her one-woman project Zola Jesus is lush and mysterious, with pulsing synths and powerful vocals that belie her childhood training in opera.

Comparisons to goth and industrial music frequently come out, but the thing that strikes me, from the instrumentation on down to the

chord progressions, is how much her records actually have in common with pop. She takes this comparison as a compliment. “I love pop music,” she says. “For me, it’s very much about the idea of impulse, or release. I’ve always been very passionate about it, and I would definitely say that the music I’m making is pop.”

Danilova loves the avant-garde as much as she loves the catchier end of the mainstream; for her, the excitement comes from finding the tension between the two, and bringing that tension out in her own music. “I’m inspired by Britney Spears and Mariah Carey,” she tells me, “and I really love Max Martin’s songwriting. He wrote songs for a lot of pop stars in the ‘90s, and he still does today. Pop music is the genre that’s the most immediately emotionally effective, and I think that’s interesting when contrasted with someone like, say, Stockhausen, who’s very esoteric and challenging – although equally as emotional.”

When Danilova plays live as Zola Jesus, she performs with such abandon – jumping and gyrating, clutching the microphone with a manic gleam in her eye – that it’s not unlike watching someone singing into the mirror in their bedroom. Given what we’ve just been discussing, I’m not surprised to learn that her performances draw directly on the freedom and joy of this exact experience. “Performing to myself in the bedroom is exactly where that energy of the stage show comes from!” she enthuses. “I mean, I wouldn’t want to choreograph a show and have it be fake; I want to perform the songs like I would perform them if I was alone. When I’m up on stage, I feel alone. I’m not going to... I’m not going to starve myself of that release.”

The new Zola Jesus album, Conatus, came out this month, and is a sublime example of this fusion, with pulsing synths and haunting melodies resting in a bed of avant-garde strangeness. It’s a triumphant record that pays tribute to Danilova’s influences, and she is proud that she was able to pull off such a big sound using just her voice and her laptop. “I’ve done everything myself, ever since the beginning,” she says. “It’s been a learning process, and this album is the culmination of that. I’ve had to teach myself to be a musician, a producer, an engineer, a bass player, a drummer and a keyboard player. I’ve come a long way since the beginning. My aim is to make music that sounds as if it’s been made by ten people instead of one small young girl.”

“I’ve done everything myself, ever since the beginning, so it’s been a learning process. My aim is to make music that sounds as if it’s been made by ten people instead of one small young girl.”

Danilova recently collaborated with M83’s Anthony Gonzalez, and appears as a featured vocalist on his gorgeous new album, Hurry Up, We’re Dreaming. Before I can let her go, I just have to ask how that collaboration came about.

“It’s kind of strange,” she tells me. “I contacted my manager and said that I loved M83 and really wanted to work with him, so she said she’d find out who his manager was and get in contact with them. A couple of days later, I got an email back from my manager, saying that Anthony was trying to get in contact with me because he wanted me to sing on his new record. In the same couple of days, totally unbeknownst, each of us had approached the other person separately about collaborating!

“He lives in LA,” she continues, “so I arranged to meet him, and we really got along. I went to his studio and recorded my vocals and it was very easy. We share a very similar sense of songwriting, I think. It was fantastic – it was so natural.” So has she heard the finished album yet? “I’ve heard a few tracks,” she tells me, “but I promised him I wouldn’t listen to the whole thing until he physically gave me a copy.

I’m still waiting on that – but what I’ve heard is wonderful!”

What: Conatus is out now on Sacred Bones, through Inertia

Unknown Mortal Orchestra Salvaged Sounds By Luke Telford

I

n the cover image of Unknown Mortal Orchestra’s debut long player stands a dilapidated and eerily alien building – all undulating, tarnished metal and aimless spires, set amidst a desolate and unremarkable landscape. It’s a structure that was erected on Petrova Gora, a mountain in Croatia, by a communist government, to commemorate partisans killed in the area during WWII. Despite its other-worldly disrepair, there’s something strangely comforting about the picture. “I somehow ended up with that image on my desktop,” explains Ruban Neilson, the focal member of the New Zealand-born, Portland-based band. “I didn’t really know where it was or what it was for a long time; it was just the mystery of it that I related to.

When it was time to make the cover, I thought that it really matched the music. It’s not easy to explain why, but it’s kind of obvious when you look at the image and hear the album.”

Neilson is sitting in the back of a tour van hurtling along a freeway on the way into Los Angeles. The band has been on the road with Toro Y Moi and Bass Drum Of Death for the past few weeks, and you can hear the vagaries of touring weighing gently on his softly spoken Kiwi accent. As it happens, the image and its connotations do complement his music very well; the record’s heady broth of salvaged breakbeats, lurid psych-guitar tendrils and softly-fuzzed bass conjure the work of a band from an alternate reality 1970s, one in which Frank Zappa might have been high school mates with Sly Stone instead of Captain Beefheart. The disintegration of the building – its tarnished metal panels beginning to fall away completely – and the bleak landscape in which it is placed are mirrored in the way the music glows, like an AM radio show lovingly dubbed to a warped cassette.

Unknown Mortal Orchestra sprouted after the dissolution of The Mint Chicks, a band that Neilson had formed with his brother Kody in high school. Taking a job as a graphic designer, he began writing and recording tunes entirely for himself. “I didn’t really realise that people were going to hear it. I didn’t think

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that anyone was going to listen to it, and I think that was really good for the record, because I was trying to make a record that was good enough for me,” he says. Given how intimate the album feels, it comes as no surprise to hear it was made in almost complete isolation, in the basement of a friend’s house. “I was leaving my place and going to this empty house in a completely different neighbourhood, and locking myself in for two days at a time to make these songs,” says Neilson. “I really wasn’t talking to anybody or having any contact with anybody for a couple of days at a time; just kind of going stir-crazy, but really concentrating on getting the record sounding the way I wanted it to. It was really fun.”

The glorious analogue effervescence of the music is no coincidence, arising from experiments with a myriad of tape recorders and an old CD of breakbeats that Neilson had lying around. “I had a collection of cassette recorders that I’d built up, all different kinds of tape recorders – a reel-to-reel recorder, a micro-cassette recorder... I was experimenting with all kinds of techniques, like recording on a cassette recorder and just going back and forth between tape and digital until it sounded the way that I wanted it to sound.”

The resulting aesthetic is very much in keeping with acts like John Maus or Ariel Pink; instead of creating an air of musical facsimile and allusion, the record feels like it has fallen out of a forgotten past and onto your hard drive.

Not only does this approach let wily musicians with a soft spot for retro-fetish nestle their work next to their heroes, but it also allows them to credibly toy with generic pastiche in a way their forebears could never have done. Neilson finds it affirming that he’s not the only one thinking this way. “I thought that what I was doing was going to be really unfashionable, and then eventually what I realised was what I was doing was part of the zeitgeist, and that a lot of people were thinking the same way at the same time,” he says. “You look at how there’s people like Flying Lotus and Gaslamp Killer in the hip hop world, there’s Ariel Pink and Purity Ring in the indie world...”

“I was going to this empty house in a completely different neighbourhood, and locking myself in for two days at a time to make these songs... It was really fun.”

The difficulty in being aligned with such a distinctive movement so early on is the challenge of somehow transcending it, while retaining the essential charm between successive records. While he’s unsure of how to manage this, Neilson is toying with a few fantastic ideas. “I’ve been trying to get in touch with Gabriel Roth, who was the engineer for Amy Winehouse’s Back To Black. His band is Sharon Jones & The Dap Kings. He’s a really big inspiration for me, and I was really influenced by what I’ve read about his recording techniques when I made the record. So I have this idea that it might be really cool to work with him,” Neilson says.

“Also, somebody passed [our] record along to Beck Hanson. He’s really hard to get a hold of,

but it would be cool to meet up with him and talk to him about working on the record... I dunno,” he ponders. “I just started getting excited about the idea of making records alone again. I feel like if I work with any of those people it’s going to cost a lot of money – and I’m still really excited about creating as much as I can out of nothing. From scratch.

Who knows?”

With: Grinderman, The Church, The Triffids, The Vines, Eskimo Joe, Drapht, Gotye and more Where: Homebake Festival @ The Domain When: Saturday December 3 More: Also playing on Wednesday December 7 at Oxford Art Factory

Washington Getting Personal By Jonno Seidler

M

egan Washington is really, really tired. You can hear it in her voice as she tries to be genial down the phone line from whatever godforsaken state of America she’s in today, but it’s obvious; Australia’s golden child needs a rest. It’s telling, given that her latest musical project is entitled Insomnia, a collection of haunting, minimalist pieces written while the young performer was trying – and failing – to sleep. Back in Brooklyn after her final show with synth rock pioneers OMD, with whom she’s been touring for the last month or so, Washington is focusing on the important things in life, like eating coconut flakes for breakfast, getting a piano into her third story apartment (“I eventually just gave up and got a keyboard instead”), and the wonders of having fucking amazing internet.

“I read the other day that something like 70% of people don’t have it,” Washo says between chomps, as we discuss how difficult it is to stream her music on Australian networks. “Can you believe that? I mean, up until last week my parents still had dial-up. I said, ‘Mum, I can’t come to your house unless you get cable, this is ridiculous.’” Back in the USA, where the fibre optic cables are firmly in place, Washington is still hesitant to assign permanence to her stay. “I don’t know if it’s a move or not,” she says. “The further I go down this road, the more it becomes apparent that even though when you start making music, you think you know what you’re about and what you want to say… the further down I go, the less I know any of those things.” That’s a big admission from an artist whose debut record I Believe You Liar is now being released worldwide, but Washington is keenly aware of the irony.

“People are asking me about this music and my relationship to it, and I’m finding the whole experience really bizarre.”

Welcome to the Washington paradox, which is actually the Serious Artist Paradox, and has been for about thirty years of popular music; being successful is wonderful, except for some of the stuff that comes with it. “On the one hand, it’s great that my record is out all over the world, but on the other, I have one release coming out in one country, and another somewhere else.”

What Megan’s talking about is the fact that I Believe You Liar is now so big in Australia that it’s getting a re-release, with Insomnia forming part of the added incentive for those of you who don’t own it already (all five of you…). But Washington doesn’t see Insomnia as a proper album, even though it’s sort of being marketed that way. “A record should have a conscious, cohesive vision,” she says. “I had these songs and I just recorded them and put them out. That’s it. [But] there’s a certain amount of midwifery that goes around the release of something.”

“Not to be a sad sack, but this year hasn’t been the greatest. I just wanted to document what was going on inside my head and put it out there. I don’t want to tour this – no way!”

The rolling melancholy of Insomnia, for those who have heard it, is perhaps even more personal than Liar, reminding listeners that beneath the celebrity and the rock’n’roll lifestyle and those goofy glasses is a girl very far away from home. “I would really like some sleep and just to synthesise everything,” Washo whispers, “I mean, it’s been a pretty huge year and – uh…

I’m sorry. I wouldn’t mind a break for a little while.” Washington’s been so hard at work that not only has she not even read the overdramatic press release for the new material (“I have no idea what you’re talking about. It’s possible that I approved something and someone else knowingly submitted the things they wanted…”), but she hasn’t even heard the record itself.

Seriously. “I still haven’t heard the mastered version!” she laughs. “It got mixed and mastered and John [Castle, bandmate and producer] put some clarinets on it or something, but I just didn’t want to hear it. Not to be a sad sack but this past year hasn’t been the greatest. I just wanted to document what was going on inside my head and put it out there. But I don’t want to tour this – no way!”

Insomnia, which is more Rufus Wainwright than The Shins in its execution, seems to be a change of heart for the indie songstress. But for Washington, that’s perhaps a more reasonable way of doing things. “That classical, spiritual world of songwriting is kind of natural to me because of going to the Conservatorium and everything. I think that once I consciously tried not to write a pop song, this is what came out.

It’s an unfurling of long-appreciated tastes rather than something new.” And Washington is happy revisiting her favourites because frankly, she hasn’t had time to pick up any new influences. “I was on tour for five weeks and then I had to get furniture and try and get a piano up the stairs,” she says. “I still haven’t really lived here yet. And you know what? I think I’d really like to do that.”

What: Insomnia is out now through Universal BRAG :: 436 :: 31:10:11 :: 19

arts frontline

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arts, theatre and film news... what's goin' on around town and more...

five minutes GADEN

T

The characters are named after famous cricketers – what’s that about? Pinter was crazy about cricket, and was quite a good cricketer himself. I can see no other significance, except perhaps that the name Foster may have something to do with his relationship to Hirst.

wo of our best old-school thesps – John Gaden (The Seagull) and Peter Carroll (War of the Roses) – come together on stage this month, for the rare pleasure of a Pinter play: No Man’s Land, which debuted in London in 1974, with Ralph Richardson and John Gielgud in the leading roles. As far as we can tell, this one hasn’t had a professional production in Australia until now – despite the fact that, as director Michael Gow says, it “encompasses the best qualities of Pinter’s work: the precisely sparse dialogue, the sense of menace, the wry humour and characters that refuse to be specific about their history or their intentions.” Set in the London living room of fading poet Hirst, No Man’s Land plays out a bit like a cricket match between the host and his guest Spooner, as two man-servants look on from the sidelines. We took five with Gaden, who plays Hirst.

When did you first encounter Pinter – and what were your first impressions? It was a S.U.D.S. production of The Birthday Party in 1960 (I think). I was instantly hooked, but until now I’ve not performed in a Pinter. I think No Man’s Land is one of his best.

Critics have argued about what this play is about since it debuted; what do you think?

For me, the play is about the power of memory, and its ability to shape and distort our lives.

It’s also about the power of language and the great canon of English literature to create worlds which can be more “real” than reality. Castles in the air, which can be simply destroyed by changing the subject.

What’s main the challenge of performing Pinter? Getting it right. If you don’t, it’s like porridge. If you do, it sings.

drink. It’s possible that Spooner is a figment of his imagination, a kind of other 'self', who lives for the present. He relates most amicably to Spooner when he thinks he’s an acquaintance from the vivid past.

Tell us about Hirst! Hirst is a literary lion who’s seen better days. He lives in the past, which is more vivid and powerful to him than the present, on which he has only the most tenuous grip.

He is also largely driven by finding the next

Do you relate to Hirst? I relate completely to every character I play, but as I hardly drink and still have most of my marbles, it’s quite an imaginative contortion. However, I love going into my mental 'no man’s land' every performance.

future performance scene. Or, you know, just an evening of entertainment. November 9 (preview) – 13 at Shopfront Contemporary Arts & Performance (88 Carlton Parade, Carlton).

YOUR BETTER LIFE Don't let this hideously ugly woman win

WORLD MOVIES

Some say that culture, like learning, is its own reward; others say, ‘Nothing says congratulations quite like a Sony Bravia TV and 25 DVDs.’ If you’re in the first camp, then set aside the weekend of November 18-20, and starting playing really nice with whichever of your friends/ parents/lovers has World Movies channel – so you can crash on their couch and watch non-stop films for the ‘25 Movies You Must See Before You Die’ (on Monday, we assume) marathon. If, however, you’re more into tangible rewards, head to worldmovies.com.au from NOW (9am Monday October 31) to vote for your favourite film-with-subtitles, and go in the draw for the aforementioned swag. We’re gonna be really irritated if Amelie wins again.

WIT LARGE: PSYCH OUT

Anyone who has seen Wit Large before knows it’s more like Large Wit, AMIRIGHT?!

Happily, the November edition will be no exception. The theme? Psychology. The Star?

Bruce Griffiths, whose brand of humour has been sneaking onto our screens through his writing on Good News Week, The Glasshouse and Comedy Inc. Joining Bruce on his psychic adventure are Mat Kenneally, Liz Stephens and Wit Large regular Dave Bloustein. The team is prepping for Melbourne Comedy festival next year so if you want to get in before they’re famous get down to Gleebooks on Saturday November 5. Tickets and 'more info' can be found at gleebooks.com.au

SLOW REVEAL

Shopfront – the ‘contemporary arts and performance centre' – are getting ready to reveal the 2011 season of their Artslab program (the six-month residency for emerging artists aged 18-25). This year’s season is called Slow Reveal, and the six short performance works (included the second solo work from Applespiel’s Rachel Roberts) range from more conventional theatre forms through new media and installation, and (of course) puppetry.

Consider this your sneak preview into Sydney’s 20 :: BRAG :: 436 :: 31:10:11

The Bake Sale collective are embarking on a course of self-betterment, with a series of micro-courses being held as part of Surry Hills Library’s weekly ‘Late Night Library’ soirées.

You’ve already missed Love, unfortunately – but Part 2, Culture, kicks off this Thursday November 3 at 9pm, with free drinks, nibbles, and talks from Susan Gibb (a curator at Carriagworks and founder of the curatorial project ‘Society’) and Sam Pettigrew (musician, sound artists, and co-director of the NOW Now festival). So if you’ve been hearing about this ‘culture’ thing, and are more curious than lazy, call 8374 6230 to reserve your space. bakesaleforart.wordpress.com

THE HORSE’S MOUTH

Bambina Borracha’s new season of works, The Horse’s Mouth, sounds a lot like a good excuse to round up some of Sydney’s most interesting raconteurs, and force them to perform to audiences; it’s gonna give you a chance to catch Zoe Coombs Marr’s Ive been Everywhere Man (Or, The time I tried to validate my own existence through travel and it didn’t quite work out the way I wanted it to), Tim Spencer’s Show Me Yours I’ll Show You Mine (another tale of childhood faux pas, we hope), and Phil Spencer’s newie, The Great Apeth – about his Nanna Gaye… “ohh and Mexican wrestling, appendicitis, Victoria sponge cakes and family grief.” There’s oodles more, with the shows running in three lineups, from November 25 – December 17 at the Old Fitzroy Theatre.

For more, see horsething.com

Can you talk a little about working with Michael Gow? Michael led us very early to examining the play through meticulous attention to the text. In a play that is so much about language, the details of the text are the building blocks of the performance. He asks a lot of very perceptive and penetrating questions and leaves us to find the answers, as indeed Pinter does.

Michael tracked down the literary references, T.S. Eliot, Keats, Virginia Woolf, and many others, and left it to us to use or reject as we needed. As a writer himself, I think he had an extraordinary insight to the play.

What: No Man’s Land by Harold Pinter When: Until December 11 Where: Drama Theatre, Sydney Opera House More: sydneytheatre.com.au

of its annual Webfest competition, calling for submissions from young filmmakers (or just wannabe filmmakers) who have mind-melting ideas for a web series. Make a 60 second trailer, upload it to the Movie Extra Webfest Facebook page – and then pester your friends to vote for it. The good news is, even if you don’t have as many friends as that babe over there, the competition is also judged by Serious Professionals, who can spot a turd from a mile off; so, you know, make something good. Voting closes November 30! More 'information' at facebook.com/movieextrawebfest

THE PAPER MILL: THE BEGINNING OF THE END

The Paper Mill, Sydney’s best laneway ARI, will be closing its doors at the end of November, after almost two years of exhibitions, workshops, residencies, shindigs… So head along this week to Champagne Urbana, one of their final two shows. Showcasing new work from Sydney and New York, Champagne Urbana features works by Ernesto Burgos (NYC), Shane Caffrey (NYC), Chris Hanrahan (SYD), Chloe Hughes (SYD), and Liz Magic Laser (NYC). According to the presser, “The

Sam Simmons

SAM SIMMONS

Melbourne comedian Sam Simmons is continuing his tradition of coming to Sydney straight from the Edinburgh Fringe, with a smug ‘I got five stars from the Scotsman’ face.

Last year it was Fail; this year it’s The Precise History Of Things, which The Independent described as “The Mighty Boosh run through a shredder.” Expect surrealism, expect laughter, expect your brain to melt. If this sounds like your kind of party, we have three double passes to see Sam at the Factory Theatre this Thursday November 3, 7.30pm.

To get your hands on one, tell us the last comedian you saw live. factorytheatre.com.au

BRIDESMAIDS: DVD!

We’ve yet to meet a person who doesn’t think Bridesmaids is OMFGhilarious – and if we did, we’d probably just call them a women-hating party-pooping crank. If you're one of the 5% who missed it in the cinema: Bridesmaids is written by and stars SNL’s Kristen Wiig (aka the new Tina Fey), and is produced by Judd Apatow (aka the new John Hughes), and is equal parts sweet, wrong and OMFGhilarious; also, DON’T WORRY! It’s not like it’s a Western, or in 3D; it’s gonna look great on your 22-inch home television unit. Bridesmaids releases on DVD this Wednesday, November 2. We have five copies up for grabs – to get your hands on one, tell us one of the other rad comediennes in the lineup. exhibition is an attempt to glean some insight into the convergences/divergences of the urban experience by the analysis of their respective visual vocabularies.” Blah blah blah ARTZ! Opens Tuesday November 1 from 6-8pm; runs til November 19. thepapermill.org.au

ROCKS BIZARRE

This Friday kicks off a season of laneway sillybusiness happening every Friday night through November and December – in The Rocks. Lazy punters will probably head straight to the Rocks Square for the outdoor lounge, and its shifting feast of music and entertainment; people who like their theatre short, funny and free will head to Kendall Lane, for Applespiel’s indescribable Awful Literature Is Still Literature I Guess (TINA 2011, Underbelly Arts Festival 2011) – or the basement of 77 George Street, where Erth Visual and Physical Inc will perform their adults-only puppet show Preview to Murder, inspired by the music and lyrics of Nick Cave. Those with coordination should head to Kendall Lane for Heidi Hoops’ demonstrations, at 6.30pm, 7.30pm and 8.30pm – or log on to therocks.com to see where the weekly Friday night Silent Disco will be held.

The Body is a Big Place

NOVEMBERISM

Not entirely sure this has happened in Sydney before – but here it is: a collective of playwrights. They’re called ISM, and their six-strong lineup includes 2011 Griffin Awardwinner Rick Viede (whose Hoax will play in Griffin’s 2012 season), 2009 Philip Parsons Young Playwright’s Award-winner Tahli Corin (whose work was part of STC’s Money Shots and Rough Draft programs this year), and Joanna Erskine (whose K.I.J.E showed at Old Fitz earlier this year). Not content to collectivise their writing, they're concentrating it even further, into a month of new playwriting, called NovemberISM. Expect performance, forums, workshops, readings and ‘gatherings’, at the Old 505 Theatre (Lvl 5, 342 Elizabeth St, Surry Hills). novemberism.com

MOVIE EXTRA WEBFEST

A budgeted seven-part series – it doesn’t get much better than that if you’re an emerging filmmaker; did we mention budget? Movie Extra has launched the second instalment

PERFORMANCE SPACE: EXCHANGE

Performance Space launch their summer season, Exchange, on November 3 – a collection of exhibitions and performances exploring the ways we share and trade. First cab off the rank is Theatre Kantanka’s Bargain Garden, followed closely by two new media installations: Hokus Pokus, which takes on the form of a 19th century travelling science and magic show, to explore the historical and actual connection between magic and the study of how we perceive things; and video installation The Body is a Big Place, which explores the practical aspects and impractical after-affects of organ transplants – from a live human heart perfusion (really!) to more cerebral (i.e. less messy) explorations of cellular memory. They’re both FREE. For the full Exchange season (including My Darling Patricia’s newie!) see performancespace.com.au

John Gaden (seated) by Rob Maccoll

WITH JOHN

GOLD DIGGERS! 34B BURLESQUE TURNS 6 T

out of a cake for their last birthday, to Vanilla Ice. Costume hint? Betty Draper meets the early ‘90s.

Routine: The broke tramp: Mad Betty runs out of men to support her, and has to busk for cash.

Do you remember your 6th birthday? I had an Alf cake.

o celebrate six years of purveying their special monthly party-mix of humour, sex appeal and even a little social commentary, 34B Burlesque are throwing a birthday soirée – and the guest list reads like a who’s-who of Sydney’s neo-burlesque scene. The theme is ‘Gold Diggers’, thanks to founder Pip Branson: “There are two types in this world: those that have and those that have a chance to get,” he says. “I’ve always found the second type the most interesting and appealing.” Below we sample some delights from the lineup, and survey golden moments from 34B Burlesque’s epic childhood.

Barbies with glistening sun-raypleated green tails, and hair that changes colour in warm water.

KITTY VAN HORNE

LUCILLE SPIELFUCHS

Photo credits: Mr Bublé by photobat.net, Kira Carden by Amyleigh, Lucille Spielfuchs by Sandra Iov

FRANCOIS BUBLÉ

This cheeky concoction of Serge Gainsbourg, Robert Wagner, Charles Aznavour and Plastic Bertrand is the impish impresario behind 34B Burlesque – so he’s seen it all.

Gold of choice: My gold leotard; it may make another appearance this year – be warned.

Gold-digging hero: Duchess of York (former Princess) Sarah Ferguson – ooo, she’s a naughty red head.

Do you remember your 6th birthday? Lots of red sugary things; I think I tried to kiss Samantha Gaye and made her cry (sorry, my dear); definitely had a fight with my best friend; and then more red sugary things. So not dissimilar to life today.

Routine: Acapulco Goldie: The birth of Venus, down in Mexico; Frida Kahlo and Carmen Miranda’s love child emerges from a giant taco shell and is serenaded by a Chihuahua.

With hula-hoops, of course!

RENNY KODGERS

BABY BLUE BERGMAN

KIRA HULA-LA

Aka Kira Carden – 34B mainstay, and general hero of the scene; what can’t she do with her hoops?

Gold of choice: Golden Gaytime.

Gold-digging hero: Zsa Zsa Gabor: “I never hated a man enough to give him his diamonds back.”

Golden moment at 34B: What with having to sometimes be glued into my costumes, I’ve had a few close calls with golden moments at 34B, but luckily those Kegel exercises payed off…

Costume hint? One needs to be glued on, the other one needs a chaperone. I have to make sure my banana stays in my fruit basket.

fell in my cake, and I exacted revenge moments later.

With a sense of the kooky that belies her sex-kitten looks, Baby Blue’s memorable 34B routines have included a 15-minute ‘Mia Wallace’ twist session, and an abominable snowman act to the Thunderbirds theme. So expect the unexpected!

Gold of choice: The pot at the end of the rainbow.

Gold-digging hero: Fran Fine from The Nanny. Best. Wardrobe. Ever.

Golden moments at 34B: Jumping

MESSR. BUBLÉ’S TOP 5

• After Tulsa jumped out of a cake at our 2nd Birthday celebrations, a girl from the audience, who had perhaps had one too many champagnes, thought she would dive onto the delicious-looking thing. She seemed genuinely surprised when she just stopped on top of it and was not cushioned by sponge cake and icing.

• Gypsy Wood’s John Howard strip routine to Elton

This coltish coquette has brains to match her beauty, with a double major in philosophy and theatre – so she’s never short of ideas. Popping her 34B Burlesque cherry in October 2010, she’s already become a regular.

Gold of choice: The One Ring.

I’m okay with all the dangerous baggage it comes with – orcs, wizards, volcanic mountains of doom and possible death. It’s a once-ina-lifetime experience. Hand me the ring!

Golden moment at 34B: I was pretty captivated by a performer who was topless and tying herself up in rope.

Routine: A twist on the story of The Emperor’s New Clothes, with a bit of drama, mime, burlesque, and other acts of a ridiculous nature.

Do you remember your 6th birthday? A cake with three layers of amazing spongy goodness from the German bakery down the road. And frogs, family and dolls with secrets in their hair; mermaid

John’s ‘Sorry Seems to be the Hardest Word’, on the night of the 2007 election.

• Renny Kodgers’ stimulus package box for the 2009 ‘Stimulus Package’ show – I’ll leave it to your imagination. (Yes, you’ve imagined it perfectly!)

• Flying across the crowd in a silver space suit while I sang ‘Space Oddity’ with Lauren La Rouge for our ‘She Came from Another World’ show.

• Master performer James Thiérrée (Charlie Chaplin’s grandson) coming to the club and completely loving it!

IN YOUR ROOM TOUR

She sings, she dances – is this cando girl the perfect housewife, or a ‘50s femme fatale?

Gold of choice: My 1960s vintage gold lurex dress.

Gold-digging hero: Anna Nicole Smith – the High Priestess of gold digging!

Golden moment at 34B: Being in the same show as my vocal performance heroine, Christa Hughes, during 34B Burlesque’s Long Hot Summer show in 2010.

Costume hint? Fabulous feathers and delicious jewels from all my rich suitors, of course!

Routine: I’ll be singing a little ditty about being polite to your (rich) elders and reaping the rewards.

Do you remember your 6th birthday? It was a pool party, and birthdays in our house always featured a cake from the Australian Women’s Weekly Children’s Birthday Cake Book – they were genius!

BELLA PISTOL

This gun-toting troublemaker has tatts to boot…

Gold of choice: My very gold, very special, collector’s edition Duff Beer can. And glitter! A girl is nothing without glitter.

Gold-digging hero: Lorelei Lee (Gentleman Prefer Blondes), or her real-life inspiration, Peggy Hopkins Joyce – they may be expensive, but they delivers the goods!

Golden moment at 34B: Definitely the birthday bash last year; a very sparkly lineup to be a part of.

Do you remember your 6th birthday? It was full of fairy bread and princess dresses, followed by endless dancing. Then a classmate

A psychedelic tribute to the iconic country music singer-songwriter.

Gold of choice: My gold finger.

Gold-digging hero: John Howard.

Golden moment at 34B: When a lady on her hen’s night shoved her hand into my jewellery box.

Costume hint? Gold suit.

Routine: ‘Lady in Red’, then breakin’ it down into ‘Push It’ by Salt n’ Pepa.

What: 34B Burlesque Gold Diggers With: Kira Hula-la, Jamilla De Ville, Lucille Spielfuchs, Baby Blue Bergman, Jade Twist, Kitty Van Horne, Bella Pistol, Cherry Lush, Dr Strangelove, Harry the Magician, MCs Renny Kodgers & Francois Bublé, DJs Goldfoot & Jack Shit When: Saturday November 12 Where: 34B / Exchange Hotel Tickets: $25+bf (GA) - $35+bf (reserved table) at moshtix.com.au

SPECIAL GUESTS:

WINTER PEOPLE MICHAEL MOONEY BEAUFIELDS

FRIDAY 4 NOVEMBER

THE STANDARD, SYDNEY FOR TICKETS AND FURTHER INFO GO TO WWW.CAMERASMUSIC.COM

IN YOUR ROOM

CAMERAS DEBUT ALBUM ‘IN YOUR ROOM’ OUT NOW BRAG :: 436 :: 31:10:11 :: 21

The Dark Room

Still from Prowl

[THEATRE] OMG WE HAZ THEATRES YAYYYYY! By Simon Binns

B

elvoir’s Downstairs season this year has until now been comprised entirely of monologues. The intimate space has been filled with equally intimate one-person shows, from the Lynchian thriller Cut to Gareth Davies’ anti-charismatic Mr Glamour, with a quick trip to the Kimberleys for Windmill Baby in-between. That all changes this month with awarding theatre company RealTV (otherwise known as writer Angela Betzien and director Leticia Cáceres) transforming Belvoir Downstairs into The Dark Room.

After Dark Originals [FILM] Courtney Solomon brings a new brand of fear Down Under. By Gerard Elson

C

ourtney Solomon’s IMDb boards are a hotbed of hyperbolic invective. One pundit asks if the Canadian is ‘the next Uwe Boll?’ (aka The Most Maligned Filmmaker Ever™). One more strident detractor spits, ‘Is this man aware that he is absolutely talentless?’

Another screams ‘Somebody stop this man!’

‘That man’ is seated opposite me, smiling and scruffily unshaven in a black Rolling Stones baseball cap. I like him. It seems absurd that he could attract this level of vitriol – even online, where level-headedness isn’t exactly in abundance. “Everybody here has been really nice,” he smiles wearily. By “here” he means Australia. Given the libel I encountered during my pre-interview message-board trawling, I can’t help but wonder how this differs to the US. “The US is the US,” he shrugs. “It’s a very competitive market.” And that’s that.

Solomon is in Australia to launch After Dark Originals – a new DVD line of original horror movies all produced in-house by his own After Dark Films. Earlier this week, a Popcorn Taxi event at Paddington’s Chauvel hosted the Australian premiere of one of the films, Seconds Apart. “Everybody was genuinely enthusiastic,” he says. “I think they’re happy to have a horror brand here in Australia.”

“[The After Dark movies] all go theatrical in the top ten to 15 markets in the US,” Solomon explains.

“It’s one weekend only, but it’s a weekend where you get to watch eight horror movies in a cinema.

We put filmmakers there and have Q&As, and bring the casts out to certain theatres. But [because] it’s only there for a weekend, there’s no possible way to make money on it. It’s for the fans.”

After four seasons of distributing other people’s scary movies, After Dark changed the Horrorfest paradigm for the 2011 event: from this year on, the festival and its subsequent DVD line (previously released under the banner ‘8 Films to Die For’) will comprise the eight entirely new horror features produced by the company – hence the rebranding to After Dark Originals.

Betzien and Cáceres met at the Queensland University of Technology in Brisbane back when Cáceres was making physical theatre (“It was an embarrassing period”) and Betzien was hanging out with the other writing students (“read: loner”). Their creative relationship grew out of a shared interest in contemporary, relevant plays.

“We both have an interest in theatre that is connected to the ‘now’ and issues pertinent to people and what we’re living through,” Cáceres explains. “It was an attraction to politics and to theatre that brought us together.” It’s a collaboration that has proven to be continually successful, with this production capping off a decade that has seen RealTV travel widely across Australia and the world – including a short run last year in Vienna and Italy for one of their early pieces, Hood, which deals with violence and

Unlike many of their peers, RealTV aren’t afraid to describe their work as ‘political theatre’. “[Politics] is such a dirty word,” bemoans Betzien. “There is a lot of political theatre being made, but they’re afraid to say it… I say, ‘What the fuck? Say it for what it is.’ There is an agenda with our work; unashamedly we create work that has a social justice focus.”

The fear is that people will relate ‘political’ with ‘boring’ or ‘educational’ – but for Real TV that’s never been a problem. “We work really fucking hard and when it does get didactic we’ve got a pretty strong nose for that,” Cáceres explains.

“If we hear our own voice we shudder and we slash it, and find a way to showcase [our ideas] through action.”

For Betzien, issues of social justice provide fodder for great plays. “It’s about critiquing power,” she explains. “All good drama is about power – if there’s not a power dynamic at play, it doesn’t work. So essentially, characters that don’t have power fighting for their rights is actually really exciting drama, it’s not didactic, it’s not boring. We make it our personal mission to create really exciting, visceral, edge-of-yourseat drama.”

The Dark Room features a mix of established and emerging actors. Leah Purcell returns to the stage after dominating the Wharf as the lead in Blood Wedding, whilst Bjorn Stewart, who was recently in PACT’s Bully Beef Stew, makes his Belvoir debut. Brendan Cowell, Anna Lise Phillips, Billie Rose Prichard and Cameron Stewart round out the superb ensemble.

“There’s nothing more wonderful than someone who’s giving you 110 percent all day long,” smiles Cáceres. “They work so hard, I’m begging them for a break! If it was up to Leah [Purcell] we’d be rehearsing until midnight!”

Brendan Cowell in The Dark Room

While it might sound like every filmmaker’s dream to head their own mini studio, Solomon says the learning curve has been a steep one. “We learnt a lot doing [this] first series,” he admits. “Not all of our movies end up great. So far, I feel we run like a 75/25% [success rate]. We’re trying to get it 90/10%. If we can get it to 90/10% I’ll be happy.”

What: Five titles from the first season of After Dark Originals (Prowl, Husk, Fertile Ground, Scream of the Banshee and Seconds Apart) are available now on DVD More: The Task will be available from October 31; 51 releases November 7; Re-Kill will have a cinema and DVD release in Australia in 2012.

What: The Dark Room by Angela Betzien When: November 3 – December 11 Where: Belvoir St Theatre

HOLA MEXICO!

More: belvoir.com.au

[FILM] See Mexico through Sam Douek’s eyes By Dee Jefferson

S

amuel Douek founded Hola Mexico Film Festival in 2006, four years after moving from Mexico to Sydney, to do a Masters in Event Management at UTS. Douek’s connection with film started as a child, in the cinemas of Mexico City – but the impetus to start Hola was Hollywood’s burgeoning love affair with directors like Alfonso Cuarón, Alejandro González Iñárritu and Guillermo Del Toro – which suddenly put Mexican cinema very much on the map. Since then, Douek has presented a fascinating mix of high and low cinema, both new and old, that only a native Mexican could come up with – from the hardcore art house of Carlos Reygadas, to the sex comedy Sexo, Pudor Y Lagrimas (Sex,Shame and Tears). When you go to Hola, you’re not just seeing Mexican cinema – you're seeing Mexico.

and made politically subversive farces, including Herod’s Law (1999), A Wonderful World (2006) and Inferno (2010) – all of which will screen at Hola this year. Douek was 15 when he saw Herod’s Law: “I loved it! It was an in-your-face experience; I couldn’t believe they’d done a film so bold about corruption in Mexico. Estrada’s films are brutally honest, well produced, brilliantly acted and truly Mexican.”

WE RECOMMEND:

THE CINEMA HOLD UP

barrios – smoking pot, writing graf, jamming, shoplifting, and sneaking into cinemas. One thing they all share is the belief that money will fix their problems. What starts as a joke about robbing the local cinema, turns into an elaborate plan to pull off the perfect heist.

If you imagine a mix of Amores Perros, Dazed and Confused and Mallrats, that sort of puts you in the right ballpark. Asalto Al Cine screened at Sundance 2011 (Official Selection), and San Sebastian 2010.

22 :: BRAG :: 436 :: 31:10:11

MARIMBAS FROM HELL

TIN TAN

Besides having the best title in this year’s program, this one’s for all music fans (or possibly Christopher Guest/Spinal Tap fans?): a documentary about an intriguing collaboration between Guatemala’s traditional music and heavy metal scene. Meet Don Alfonso and his new partner-in-crime, Blacko: together, they are MARIMBAS FROM HELL!

This year’s program is typically eclectic, ranging from Saving Private Perez, which took No.1 at the box office in Mexico this year, to the modest but powerful documentary The Open Sky, about the murder of El Salvadoran Archbishop Oscar Romero (whose story has been told before in films like Salvador and Romero).

This year’s retrospective focus is Luis Estrada, a member of the powerful generation of '90s filmmakers that included directors Cuarón and Iñárritu, and cinematographer Emmanuel Lubezki; whereas they have gone on to work in the USA (and be nominated for Academy Awards) Estrada stayed in Mexico

saw him frequently compared to Jerry Lewis.

The Tin-Tan character drew on stereotypes of the upwardly-mobile, boorish, gringo-ized (or Americanised) Mexican, and so his popularity can also be seen as a signifier of the ongoing tension between Mexico and the USA.

Iria Gómez Concheiro's feature debut is based on a newspaper story, about a cinema hold-up by teens. Instead of being an action film or a thriller, however, it’s mostly about the prelude and aftermath of the crime; Concheiro is more interested in exploring the life these teens live, in one of Mexico City’s poorest

This documentary explores one of Mexico’s most iconic music-hall comedians and hottest cinematic exports: the loveably gauche Tin-Tan (aka Germán Valdés), whose career spanned three decades, from the mid-‘40s, and whose talent for comic improvisation, song and dance

What: Hola Mexico Film Festival When: November 3 -14 Where: Dendy Newtown More: holamexicoff.com/australia

The Dark Room - Brendan Cowell photo by WILK

After Dark is what showbiz types call a 'minimajor' – a production company/distributor whose scale and market presence is considerable enough to net talent like Diane Lane, Michael Douglas and Tom Waits(!), but whose successes won’t exactly have the highrollers at Disney or Warner Bros. shaking in their Louis Vuittons. It’s exactly where Solomon wants to be. “We’re the number-one producer of horror product in the US, and the numberone distributor of it,” he says. For Solomon, After Dark is less about profit and more about sustainability. So long as the company can continue to self-finance, he’ll be happy.

After Dark Originals grew out of After Dark Horrorfest, an annual nationwide horror film festival that kicked off in the USA in 2006. Each year, eight independent horror movies screened.

All were acquired for US distribution – although not produced – by Solomon’s company. The event counts two Aussie efforts amongst its alumni: Tassie-set cannibalism schlocker Dying Breed, and the chilling, near-brilliant Lake Mungo.

The Dark Room takes us inside a cheap motel room, as three different crises unfold: a disturbed teenager seeks help from her social worker; a cop and his wife question their ideals, whilst another police officer comes face-to-face with his past. The spring is coiled tight in this psychological thriller and as these encounters interweave and collide, breakdown never seems far away.

neglect at the suburban fringe.

ry Art presents Casula Powerhouse Arts Centre and the Museum of Contempora

ARE YOU 12 – 18 YEARS OLD AND INTO CONTEMPORARY ART AND CULTURE? CHECK OUT GENERATIONEXT - A UNIQUE ART EXPERIENCE MADE EXCLUSIVELY FOR YOUNG PEOPLE. EXPLORE THE ARTWORKS IN NIU WARRIOR, CASULA POWERHOUSE’S EXHIBITION OF CONTEMPORARY ART BY ABORIGINAL AND PACIFIC ISLAND ARTISTS. GET STUCK INTO WORKSHOPS WITH ARTISTS, HEAR A CURATOR’S PERSPECTIVE ON THE EXHIBITION, TASTE-TEST FOOD AND LISTEN TO LIVE LOCAL MUSIC. ALL WHILE CONNECTING WITH HUNDREDS OF LIKEMINDED YOUNG PEOPLE. Supported by the Balnaves Foundation

WHERE: 1 Casula Road, Casula COST: FREE WHEN: Sunday 13 Nov, 6.00 – 8.00pm RSVP: essential by Friday 11 November EMAIL: generationext@mca.com.au PHONE: 02 9245 2402 Onesian, In South We Trust, 2010 Water-based ink airbrushed cotton hooded sweatshirt Image courtesy Cerisse Palalagi an MCA event, supported by the Balnaves Foundation

BRAG :: 431 :: 31:10:11 :: 23

Arts Snap

Film & Theatre Reviews

At the heart of the arts Where you went last week...

Hits and misses on the silver screen and the bareboards around town.

■ Theatre

THIS YEAR’S ASHES Until November 19 / SBW Stables

ten girls.ten colours

PICS :: AM

There are words like ‘beautiful’ and ‘moving’. Words that show an appreciation of craftsmanship, an admittance that the heartstrings were tugged an inch or so.

Words that allow you to respect skill and still go home unchanged. For the first half of This Year’s Ashes, I was preparing words like these: wildly funny, well-played, smartly designed. Then someone said something I was utterly unprepared for, and there was only one word: devastating.

18:10:11 :: Salerno Gallery :: 70 Glebe Point Rd Glebe 9660 0899

And there are at least three more such moments to come in Jane Bodie’s script; moments in which it feels like someone has opened your chest and taken your heart for themselves, turning what looks like a hilarious script with a dark soul into an experience of overwhelming emotion.

matthew tumbers

PICS :: TL

It’s impossible to resist these actors: Belinda Bromilow’s anguished, evasive Ellen, almost afraid to hope; the endlessly warm, tender presence of Tony LlewellynJones; and the wonderful talent of Nathan Lovejoy, first conducting a masterclass in awkward comedy, then coldly terrifying, then reappearing as the closest to a genuine human being that’s been onstage this year. Guided by Bodie’s script and Shannon Murphy’s direction, these three forge a set of relationships that are nothing less than real.

20:10:11 :: Chalk Horse :: 8 Lacey St Surry Hills 9211 8999

Bodie’s metaphors can be a touch too pat, and her plotting a bit laboured. For much of the first act, Ellen might as well be carrying a sign that reads ‘Ask Me About My Troubled Past.’ But it’s more than made up for by the brilliantly crafted characters, as well as a masterful command of tone that deftly yaws between darkness and light. Where others might stumble, Murphy shows herself to be a director of rare grace, sensitively navigating the production’s course from comic beginnings through revelation and transformation, all the way to an ending that’s irresistibly gorgeous and – well, devastating, in its own way.

Pierce Wilcox ■ Theatre

JUDITH

little gonzales

PICS :: TL

Until November 6 / Bondi Pavilion

20:10:11 :: MART Gallery :: 156 Commonwealth St Surry Hills

Arts Exposed What's in our diary...

Sydney Harbour Federation Trust presents

OUTPOST PROJECT Cockatoo Island / November 4 – Dec 11

xxxx 24 :: BRAG :: 436 :: 31:10:11

The inaugural Outpost Project kicks off this week, giving international giants of the scene like Brazilian artist Ethos and Belgian artist ROA, and local heroes like Anthony Lister, EARS and Shannon Crees, the creative license to turn Cockatoo Island into a playground for your soul. Expect inflatable graf installations; expect giant surrealist murals; expect massive koalas and cockatoos; expect the prettiest buses, walls and roofs you’ve ever seen. Over five weeks artworks will come and go, punters will be able to see murals and graf pieces created in real time, and check out never-before-seen works from Banksy and Brazilian street-art godfathers Os Gemeos, as part of the Oi You! private street art collection.

So, just quietly, you might wanna get along. outpost.cockatooisland.gov.au

The story of Judith is classic ancient drama: a beautiful widow goes with her servant to the camp of an opposing army, to seduce and kill their leader. She achieves this, and returns to her people with his head, a tangible symbol of their victory. It shouldn't surprise anyone to discover the story comes from an apocryphal book of the Old Testament.

It’s reminiscent of Samson, or Salome, and it's no wonder that Howard Barker, who describes tragedy as “the greatest art form known to man,” would choose to extrapolate from this myth. Barker could never simply let the story be, however; he takes the concept further, adding a layer of complexity in which, midway through her assassination mission, Judith becomes convinced that she loves her victim, the great general Holofernes.

Barker has infused the ancient drama with his renowned dark poetry, and at times the match is perfect. In this version, General Holofernes is a philosopher, and would rather discuss the casualness of death than be seduced by Judith. Judith is only too happy to talk – so that only the servant seems to have her eyes on the prize.

The first thing you notice on entering the Bondi Pavilion Theatre is Michael Hankin’s design. Large ropes hang to form a triangle – Holofernes’ tent, as it were. They dominate the space, providing some challenges – but also glorious opportunities for Christopher Page’s lighting. Rounding out the design is Ekrem Mülayim’s composition and sound, which serves to support the play’s many ebbs and flows. Barker’s text rarely lets you settle, and nor does Mülayim.

The actors are evenly matched and there are moments, particularly Luisa Hastings Edge’s final rise to power, which are truly stunning. However, the story contains more complexity than is mined here.

Henry Florence ■ Film

IN TIME Opens October 27 There’s a fascinating premise at the centre of this scatterbrained sci-fi, in which people stop ageing at 25 and have to “earn” time in order to stay alive. Whether or not it’s ripped off Harlan Ellison’s 1965 short story 'Repent, Harlequin!' Said the Ticktockman, Gattaca writer-director Andrew Niccol does a fine job in establishing the clever rules of this dystopian future.

Unfortunately, it’s all downhill from there, with Niccol seemingly having no idea of what to do with his increasingly simplistic mythology.

The message of the story should be clear: when you have to fight for “time”, you’re forced to live in the moment. Not as good as it sounds for the people of the “Ghetto”, a system of linked metropolitan areas where citizens are forced to work in factories in order to earn enough time to survive. Before you can say Metropolis, one of these workers is given over a century by a 115-year old man tired of his essentially immortal existence. This allows him to escape and discover the social injustices that plague this unnamed city. He’s Will Salas (Justin Timberlake), a jaded 28-year-old being hunted by “the timekeepers” (lead by Cillian Murphy), 1984-style policemen in charge of maintaining the current social order.

It sounds much cooler than it is, and by the time Salas goes on the run with the daughter of a wealthy businessman, like a future-noir Bonnie & Clyde, the story quickly heads in increasingly implausible directions. Everything seems just too easy for Will and Sylvia (Amanda Seyfried), despite some suspenseful do-or-die moments where the bright-green timer tattooed on their arm counts down towards oblivion. It’s not the actors' faults, even if Timberlake and Seyfried, quite charismatic on their own, don’t really sparkle as a pair. The supporting cast of Vincent Kartheiser (Mad Men) and Olivia Wilde (as Will’s mum, just to weird you out) is decent enough, but the flaws in Niccol’s clumsy script are hard to ignore.

Famed cinematographer Roger Deakins, shooting the first time in digital, also feels hemmed in by some pretty bland LA locations.

Occasional bouts of intelligence will make In Time worth the effort for sci-fi fans, but this is still a minor entry in the annals of dystopian revolution fiction. Coming from the man behind Gattaca and Lord of War and the writer of The Truman Show, especially, it can’t help but feel like a disappointment.

Joshua Blackman ■ Theatre

TITUS ANDRONICUS Until Nov 5 / ATYP In the third year of my theatre/performance degree, I escaped to Europe during the winter holidays, capped off by a week in London during which I spent just about every night, and some days, at the theatre.

One of those I spent at the Globe. I stood in the pit, and watched Troilus and Cressida. The production had a huge cast, whose bodies were used to create the sense of war, with ritualistic dances and simple choruses sung in loud unison. I was struck by how physical Shakespeare’s poetry could be.

Director Kate Revz has found something of that physicality in this production of Shakespeare’s first and bloodiest work.

The play opens with an army returning from war. Their voices ring out through the

See www.thebrag.com for more arts reviews

Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.

dark, cavernous ATYP space in a guttural song. Their bodies move about the stage in time together, adding rhythm to the melody. It's when this production is at its most visceral that it is strongest.

However, there are also many other theatrical tricks going on throughout, including the use of coloured chalk and many a blood spurt, which are used to varying degrees of success. It seems at times that this production is going for gritty realism, which is then undercut by its use of obviously theatrical devices.

As with any large cast, this 14-strong ensemble has its strengths and weaknesses. Berynn Schwerdt’s spoilt brat Saturninus is a highlight, as is Anthony Taufa’s frighteningly intelligent Aaron (evil is at its most chilling when it is born of knowledge not of ignorance).

Suzanne Pereira has all the power as the cunning Tamora, whilst Helmut Bakaitis fights through the title role to a hysterical end.

Henry Florence ■ Film

JOHN WATERS: DOUBLEFEATURES FROM HELL October 23 / Sydney Opera House

of Kenneth Pinyan, who died from internal bleeding after being anally penetrated by a horse. Zoo is a surprisingly poetic, antisensationalist account of what occurred, and brings an unusual insight into the world of zoophilia (the desire to have sex with animals). Waters chose Zoo for the screening because it’s unlike any other documentary, and brought him to the edge of understanding zoophilia. He’s right, but oddly enough, I found the film almost too sentimental. It had a weirdly dramatic score

by Paul Matthew Moore, and the lingering pans of empty horse pens were just funny.

Unsurprisingly, these shots were Waters’ favourite part of the film.

Waters closed his weekend of depravity in style, with his hypersexual romp A Dirty Shame (2004), featuring Tracy Ullman as a prudish Baltimore woman who becomes a sex addict after suffering a concussion.

She becomes the 12th sex apostle of Ray Ray (Johnny Knoxville), who believes that she will lead them to the final rapture by discovering a sex act that has never been done before. This film is awesome.

After the screening, Waters reminisced about residents of the Baltimore suburbs taking photos next to the penis-shaped hedges installed in their front yards for the shoot. Allegedly one grandmother quipped “I don’t mind telling you – this is making me horny!”

Watching a film at Sydney Opera House is always a bit of a cheap thrill – a little “fuck you” to high culture. When it’s two films about sex, curated by John Waters (who comes on stage and marvels that an audience would spend a lovely Sunday afternoon watching a film about a man being fucked by a horse), the cheap thrill is taken to another level.

Waters curated this screening impeccably.

While both films dealt with extreme sexuality, the stark contrast between their approaches brought a fascinating insight into the subject. Zoo’s sensitivity inspired a desire for understanding, while A Dirty Shame’s complete lack of subtlety is a ridiculous and joyful celebration of difference. If nothing else, the audience walked out knowing what a plate job is – which more than paid for the ticket.

The film in question is Robinson Devor’s Zoo (2007), a documentary about the death

Irina Belova

Street Level With Tread Collective

O

ne of this year’s more unexpected exhibits at Sculpture By The Sea is currently being finetuned in the street-level workshop of Stucco housing collective, in Newtown – by Tread Collective, a trio of students-turned-tyre-wranglers.

Mark (Art History at USyd) and Reuben (Literature and Philosophy, also USyd) went to highschool together, and found Charmaine (who had been experimenting with cardboard sculptures in her spare time) through mutual friends. Their collaboration started with a four-foot gorilla, for Newtown’s Reclaim The Lanes street party in 2010.

Their latest creation, ‘Tortoise’, debuted at Peats Ridge Festival, but is being modified for this year's Sculpture By The Sea. BRAG: How did you end up using tyres?

MARK: Umm, just sitting around and thinking what we could make big things with, but not spend any money. If you go to any tyre shop and ask them for their old tyres – basically it costs them money to get rid of the tyres, if someone comes and picks it up, and ships it over to (often) Asia – so they’re always pretty obliging. And it’s a rugged medium: tough, lasts a long time, and a really good insulator, too.

CHARMAINE: At Peats Ridge, it was swelteringly hot – but inside [the Tortoise] it was really cool.

So what’s the theory behind ‘Tortoise’?

REUBEN: Well you’ve got this really hard, industrial, sort of ‘forgotten material’, that sits underneath our cars – and you make it into something that’s aesthetically pleasing, and interesting; and suddenly the treads become patterns, and work together to create the shell.

M: It got to the point where I’d be wandering the streets, looking at tyres, and like, ‘Woah, that’s a nice tread!’.

R: The other idea we were working with was the relationship between internal and

external spaces. There’s a whole room inside [the Tortoise], and it’s going to be set up like a little beach shack. At Peats, you’d have a couple of people who just happened to be inside the tortoise at the same time, and would end up chatting to each other – so they’re interacting with the art space, even though they might not think about it like that.

There’s also a lever, so you can move the head back and forth…

How do you cut up the tyres?

R: We have a reciprocating saw (points) C: But it’s mostly elbow grease.

R: The worst part is actually the tyres themselves, because they have a metal mesh inside the rubber – which Charmaine is struggling with now.

(She is, indeed, busy clipping tyre mesh).

R: When we started making the Tortoise, our hands were ridiculously cut up and bloodied all the time – we didn’t wear gloves.

M: There’re a couple of artists who are working with tyres – not necessarily in this way – but we really had to figure it out for ourselves.

R: There’s no guidebook.

What: Tortoise, at Sculpture By The Sea When: November 3 - 20 Where: Bondi-Tamarama coastal walk More: sculpturebythesea.com BRAG :: 436 :: 31:10:11 :: 25

BRAG EATS

Bottoms Up

News Bites

An (Accidental) Expert's Guide To Easy Spring Cocktails By Bianca O’Neill

TIME OUT BAR AWARDS

Time Out’s annual Sydney Bar Awards have been… awarded.

The overall award for bar of the year deservedly went to Eau De Vie – hidden inside the Kirketon on Darlinghurst Rd – for their quirky props, stunning service and headexplodingly good cocktails.

Woolloomooloo’s Old Fitz won best pub – undoubtedly for Hamish Ingham’s Cantofusion menu; Grandma’s won best small bar and 121BC in Surry Hills scored best wine bar. Gardell’s Bar above Porteño on Cleveland St picked up the prizes for best design and best bar food, for its ‘vintage Argentine’ aesthetic and amaze-balls finger food – fighting off top class competition from the likes of Duke and Ms. G’s (have you tried those mini burgers?!). Perhaps unsurprisingly, FBi Social won best bar entertainment for their consistent showcases of quality local artists, and Darlinghurst’s Love Tilly Devine scored best new bar.

The best bar tender gong was collectively presented to the whole Shady Pines crew. The joint was nominated in multiple categories this year – understandable if you’ve ever been there: Sydney’s friendliest bouncers to welcome you in, jovial staff ask you what you feel like,

Grill'd burger

T

here’s a time in your life when you realise that all those odd jobs you did as a student have suddenly gifted you with talents you never anticipated needing. For instance, when I was dying to go home and sleep at 5am, but instead was stuck in the pokie room counting $50s and stinking of beer, I never thought it would make me the perfect party host, somewhere down the track. In fact, my long stint as a bartender has meant that I have a heap of great cocktail recipes for every occasion – from drunken house party to fancy pants first date fare. Here are my greatest hits:

then offload free peanuts and freshly squeezed OJ with your vodka. Anyway, to chuck in the old footy metaphor, it’s clear that Sydney’s night-time social scene was the real winner on the day...

FREDA’S

Aiding the transformation of Chippendale into another entertainment-rich enclave of inner Sydney is Freda’s, the new food-focused bar from Simon Cancio, of Sean’s Panorama, Onde and Luxe Bakery fame. It’s on Regent Street, but the entrance is via the back lane, and opens into an old warehouse space that turns from a coffee-andsandwich joint during the day, to a quality bar and restaurant after dark. Their website doesn’t reveal much, so the only way to find out what’s on their menu is to step outside the comfort of your Surry-hurst bubble and check out Freda’s

GOT SOMETHING FOR BRAG EATS? Email us news tips or story ideas to food@thebrag.com

for yourself. She’s open late, and won’t disappoint.

FOOLPROOF PARTY PUNCH

MOVEMBER @ GRILL’D

I have never met a person who didn’t love this – and the energy drink kick at the end too.

And to make it even better you just throw all the ingredients in as you’re answering the door, give it a stir and you’re ready to go! No fancy shakers or strainers needed – just a salad bowl (or once, a whole bin lined with garbage bags), and a bevy of parched partygoers.

The burger-meisters at Grill’d are hopping on the Movember bandwagon this year, by offering up free burgers for everyone. Well, everyone that raises $40 for the annual men’s health charity drive. As always, the Movember proceeds make their way to beyondblue, the Prostate Cancer Foundation of Australia, as well as the Movember Foundation.

Grill’d have generously said they’ll hand out one free burger per person per day between November 8 to 11. Their restaurants are located in Darlo, Surry Hills, the CBD, and Crows Nest, not to mention those burger vans that seem to pop out of nowhere – so there aren’t really any excuses not to grow a mo. Register at movember. com.au and hit up grilld. com.au for more details and the giveaway fine-print.

Delicious factor: Easy drinking Beer goggles factor: High Target market: House party

INGREDIENTS: 4 cans of V or Red Bull, Bottle of cheap sparkling wine, Can of mixed fruit salad, 2L tropical juice, 5 shots (150ml) vodka, 5 shots (150ml) Malibu, Mint – chopped

METHOD: Throw it all in a punch bowl and hope for the best.

GINGER & MINT SUMMER SLING This is essentially a more refined version of the foolproof party punch – with slightly less debauchery, and a little more class. Again, it’s super quick and not too fussy.

Delicious factor: Hardly tastes like alcohol Beer goggles factor: Low Target market: Family BBQ/meet the parents INGREDIENTS: 7 shots (210ml) METHOD: Bacardi or vodka, Fill a jug with ice and Splash of ginger throw in the mint cordial, sprigs. Add a splash 1L of pineapple juice, of ginger cordial and Mint – fresh sprigs, the spirits. Fill with Ice pineapple juice and stir.

PIMMS DELIGHT Tried, tested and true: the Pimms recipe. If you fancy a little upper-crust British action, pair this with croquet and polo shirts; otherwise, snags and the barbie.

INGREDIENTS: 7 shots (210ml) of Pimms, Ginger ale, Lemonade (or sparkling water if you prefer it less sweet), Lemons – cut into slices, Oranges – cut into slices, Strawberries – cut into wedges, Can of passionfruit puree (optional), Cucumber – cut into strips for garnish, Ice

Delicious factor: Tastes like summer Beer goggles factor: Low Target market: Predinner drinks/cocktail hour

CHEAT’S POMEGRANATE MARGHERITA If you’re looking for a slight difficulty factor but don’t fancy splashing out on expensive mixers (read: Cointreau), then try my cheat margherita – with a twist. The pomegranate accents the tanginess of the traditional lemon flavours.

Delicious factor: High Beer goggles factor: Med-high Target market: Dinner party to impress METHOD: Take cocktail glasses, and rub rims with fresh lemon. Dip into salt to line the rims. Combine tequila, tequila mix, a squeeze of fresh lemon and pomegranate in a cocktail shaker with ice, and shake vigorously.

Strain into a cocktail glass.

FANCY LIMONCELLO CHAMPAGNE COCKTAIL If you’re keen to impress, or trying to prove you can cook on a first date, this cocktail will take enough heat off your burnt roast to forgive any slip up. Serve with cheese at dessert, or as an aperitif in between meals.

Delicious factor: Luxe Beer goggles factor: Medium Target market: First date/apology dinner INGREDIENTS: Good quality sparkling wine (Croser or similar), 1 shot (30mL) per person of Limoncello liqueur, Lemon gelato, Mint sprigs for garnish

METHOD: Fill a jug with the lemons, oranges and strawberries, and top with Pimms. Let soak for 10-20 minutes.

When ready to serve, add ice, and top with half lemonade and half ginger ale. Add passionfruit puree for something a little more fruity or sweet. Serve in highball glasses with cucumber strip garnish.

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e

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WEEKLY SPECIALS monday tuesday wednesday thursday friday lunch

INGREDIENTS: 1 shot (30ml) per person of good quality tequila, preferably silver agave, 2 shots (60ml) per person of tequila mix, Fresh lemons, Fresh pomegranate (or canned if out of season), Salt, Ice, Cocktail glasses, Shaker, Strainer

METHOD: Prepare champagne flutes by chilling in the fridge until frosted. Add one shot of Limoncello per glass, and top with a small spoon of lemon gelato. Pour sparkling wine over the top.

Garnish with a mint sprig.

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450 PARAMATTA RD PETERSHAM 9560 0400 BRAG :: 431 :: 31:10:11 :: 27

Album Reviews What's been crossing our ears this week...

TOM WAITS

Les Claypool, Flea, and Keith Richards, no less) lends a new energy, the tracks heaving under a weight of dirty rocking blues.

Tom Waits is a one-man musical institution. Over the past twenty-two albums he has developed an audio aesthetic that is singularly his, and this latest release conjures all his favourite sounds: the wild horns, the trash-can percussion, the same ghost-like piano that’s tinkled since Closing Time (1973).

It’s also more accessible lyrically.

The kooky, disjointed storytelling has been replaced by a sincere meditation on war and mortality, with a good dose of highway stories and tomcat poetry: “Get a job, save your money, listen to Jane / everybody knows umbrellas cost more in the rain.”

He co-credits the writing to his wife Kathleen and there is a slightly unexpected political tone, especially in the clanging soldier’s march ‘Hell Broke Luce’, which details the trauma of a tour of duty. The ballads are as world-weary and inspired as ever, especially the graveyard-looking ‘Last

Bad As Me Warner Music

Although his fan-cult might be looking for something a little more experimental, nobody will be disappointed. This is a haunting rock’n’roll album from a genuine musical pioneer.

In that sense the album feels retrospective, offering a balance of crash-bang tirades and lovelorn ballads which makes it the most accessible record from Waits in decades. His period of experimentation has honed into a precisely cracked and creepy sound, and the addition of powerful rhythm guitar (provided by

KIMYA DAWSON

360

Thunder Thighs Burnside

Falling & Flying Soulmate/EMI

In her 7th album, Kimya Dawson’s confessional style and lo-fi sound is very much intact. She's always treated her audience like family, and the opening track, ‘All I Could Do’, is akin to a Christmas letter, letting everyone know what’s been happening since we last heard from her.

The odd fart joke helps the album stay well clear of pretention, and I can’t think of anyone else who could follow a kids' song (‘Mare and Bear’) with an ode to sobriety and recovery (‘10 Years’).

Kimya wields her humour as both sword and shield, and the clever wordplay of her lyrics belie a desire to make you smile while breaking your heart.

‘Walk Like Thunder’ is an inspirational anthem, beginning with a frank description of her overdose a decade ago and closing with an appearance by her recent tour partner, Aesop Rock.

Thunder Thighs is also very much a product of her current environment.

Living amongst musicians in Olympia, WA has fostered a great deal of collaboration (in fact, one recording session was organised via Facebook with over 50 volunteers attending, including the local choir). The sense of community and improvisation is palpable, and the hip hop beats fit perfectly alongside the acoustic singalong tunes. While this may seem strange on paper, listeners feel as though they’re exploring these new styles along with her.

‘Solid And String’ is a standout. A catchy pop song, it’s the most ‘classic’ Kimya track on the album, but with the benefit of more refined production and harmonies. While this may be the least favoured track for long-term fans, it’ll hopefully win over a bunch of new ones.

From humble beginnings as a rap battle MC whose mixtapes earned him underground buzz, Melbourne's Matt Colwell – aka 360 – has emerged with a major label debut that announces him as a major player in the Aussie hip hop scene.

It feels wrong to call this a hip hop record, because 360 pushes the boundaries much further than that – there’s dance, pop and electro as well as RnB leanings sprinkled liberally throughout the album, and it makes for compelling listening. With M-Phazes and Styalz Fuego at the production helm, there was no way Falling & Flying was going to be anything less than a fresh approach.

Single ‘Just Got Started (ft. Pez)’ and ‘Killer’ are where 360 really shines on this record – he can blend a wicked electro-pop beat with his effortless freestyle flow – while ‘Boys Like You’, a playful defence of his ladies’ man reputation, has just the right touch of braggadocio to stop it from turning too sickly sweet. But the sludgy, bassdriven ‘Hammerhead’ takes it perhaps a bit too far, with the pop sensibilities and thoughtful freestyles giving way to a precocious, foul-mouthed track, divulging his bottomless appetite for booze, drugs and women.

Generally, 360's tracks are deeply personal, and by the end of the record you feel like you’ve known him for years; ‘Child’ charts a troubled family history, and ‘Hope You Don’t Mind’ is a cathartic spray on just about everything that’s ever bothered him. The vulnerability that comes through on his tracks is endearing, if a little confronting at times.

Anti-folk meets indie-rap. A brave experiment, but it works because it’s Kimya.

Falling & Flying strikes the perfect balance of self-deprecation and cheeky arrogance, and with such keen skill and a taste for pop, things are only going to get better for 360.

By Robbie Miles

Marissa Demetriou

EDDY CURRENT SUPPRESSION RING So Many Things Fuse Music From the Americanised drawl of Chris Bailey’s The Saints, to Radio Birdman’s fronting by US medical student Deniz Tek, Australia’s major garage acts have had a long history of obscuring their locality. By the time You Am I used Mick Jagger’s crosscultural singing as an excuse to roll their 'R’s in the early ‘90s, Australian rock never really came back. In 2004 though, with the 7-inch single ‘Get Up Morning,’ Melbourne’s Eddy Current Suppression Ring brought it all back home.

Fronted by Brendan Suppression’s boganised, half-spat Australian drawl, Eddy Current (alongside growing acts of the mid-2000s like The Drones) started to bring to the mainstream a distinctly local voice that had long been missing. With So Many Things, Eddy Current tell their story via seven years of recordings that never saw a CD release, the songs confined to the 7-inch singles which were just as important for the burgeoning punk scene as their award-winning, critically acclaimed studio albums.

Arranged in chronological order from their first slapdash recording done on the night of the band’s formation (title track ‘So Many Things’) to the cleaner surge of album closer ‘Rush To Relax', the band's evolution is mapped out piece-by-piece, each transition between 7-inches a notable step. The charm of the stilted riffs behind ‘It Ain’t Cheap’ or the kraut-pop of ‘We’ll Be Turned On’ is impossible to ignore, more than making up for the muddy regression from their richly recorded studio LPs.

S/T Speak N Spell Step-Panther have been one of the highlights of Sydney’s live scene for the past twelve months or so, bashing out tuneful, grunge-y numbers with tremendous energy and enthusiasm.

Their set at FBi Radio's ‘Choose Your Own Adventure’ festival was great fun, with all three telling odd stories between songs, so laid-back that it seemed we'd wandered into their garage mid-rehearsal.

28 :: BRAG :: 436 :: 31:10:11

Harry Wynter

SPANK ROCK

JUSTICE

Everything Is Boring And Everyone Is A Fucking Liar Pod/Inertia

Audio Video Disco Ed Banger

He may have taken a fair break from his 2006 breakout album YoYoYoYoYo, but Spank Rock’s sophomore effort sees Naeem Juwan bring back the party-inspired beats with his brash lyrical style in check.

Producer XXXChange is back on board, with German electro wunderkind Boys Noize brought in as well, bringing plenty of crunching, scuzzed-out beats that provide a floorfilling backdrop, but won’t do much to challenge anything you already know about electro or house. ‘Car Song (ft. Santigold)’ is easily the stand-out track on this record – it abandons the ‘party-rap’ vibe of the rest of the album for a retro indie dance number, with Santigold’s sultry vocals the perfect foil for Juwan’s smooth flow.

‘Baby’ channels Prince in his prime; it's a funky ‘80s throwback that's sexy without lurching into the crass, LMFAO territory that the record is plagued by on more than one occasion. You only have to look at ‘Race Riot’ with its “shake it till my dick turns racist” refrain for an example of shock value gone wrong…

Tracks like ‘Birfday’ are where this record really stumbles; tokenistic nods to the rapper lifestyle of limos and champagne are just exasperating. ‘#1 Hit’ sees Mark Ronson drop in to lend a hand, and the result is incredibly frustrating – it has all the hallmarks of a good track, a catchy-as-hell chorus and a throbbing bass line, but its delivery is so pedestrian that it ends up falling well short of the mark.

While the collection suffers from a loss of cohesiveness symptomatic of its own goals, So Many Things is a story worth telling – and it's told with gusto.

Everything is Boring... has plenty of attitude, thundering beats and some clever flows from Juwan, but there is so little on here that breaks the frat-party-anthems vibe to really say that Spank Rock has changed up too much of the formula.

Max Easton

Marissa Demetriou

INDIE ALBUM OF THE WEEK STEPPANTHER

Leaf’, although this album is more likely to be lauded for the raucous title track ‘Bad As Me’ or the creeping blues of ‘Talking At The Same Time’.

But don’t think for a second that the band can’t play.

There's a deliberate sloppiness to the way they do things, but it’s more about replicating a particular sound rather than being too cool to try. There’s a direct link to all the great punk bands – The Stooges, MC5, The Ramones, even Pavement – in that while the sound is lo-fi and slacker, the songs are tight, catchy and incredibly tuneful, often featuring two- and three-part harmonies drifting sweetly over badass riffs and drum fills. ‘Rock & Roll Alone’ could be a cover of a Phil Spector song, and the simplicity of ‘Sentimental Town’ belies the quiet sadness of the subject matter.

It’s this balance between early-‘60s pop sweetness and early-‘90s garage fury that is Step-Panther’s stock in trade, both on each individual track and throughout the whole record. Even the grungiest numbers like ‘Rock & Roll Alien’ are tempered by an innocence and a joy that prevents them from becoming bogged down in the Serious Rock’n’Roll quagmire that ensnares so many young rockers. What Step-Panther do so well is remind us all that rock’n’roll is fun – and if you’re not enjoying yourself, you’re doing something wrong.

I challenge you to listen to this album or see the band play live and not walk away with a grin on your face.

Hugh Robertson

The first time I heard this record I wrote it off completely. I didn’t like the progrock influences, I thought ‘Civilization’ was better as an Adidas ad than it was as a song, and all in all the whole thing seemed like a bit of a cheap gimmick. But when I returned to Audio Video Disco and blasted it loud, it became apparent that the entire point of this Parisian duo is that they are, in fact, one of the world’s most successful and long-running gimmicks. And that's what makes them good.

Now that SebastiAn has hit the mainstream, we realise that Justice's genre-defining debut † wasn’t really all that revelatory, and neither is Audio Video Disco. What it is, though, is some good clean fun that won’t require the aid of illicit substances like the last one did. (Seriously, have you played ‘Waters Of Nazareth’ to yourself in the daylight hours lately?

You will probably throw up.)

Everyone who, like me, was expecting a rehash of 2006 will find almost none of it here. Justice have decided that they want to be a band like the ones whose T-shirts they always wear on stage. Thus we get ‘Horsepower’, which sounds like Yes, Slash, Genesis and Rush but without being lame, because when you’re French you can make almost anything sound plausible if you believe in it hard enough. What Justice haven't sacrificed by throwing out their distortion pedal is their unbelievable musicality; most of these songs would die after two seconds in anybody else’s hands, but they know how to take a simple sound and make it the best thing ever.

Hipster-prog may not be huge yet, but if ‘Canon’ or the glam ‘On’n’On’ are anything to go by, it’s only a matter of time.

Jonno Seidler

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

NO DOUBT - Tragic Kingdom THE DECEMBERISTS - Long Live The King EP BRIGHT EYES - Lifted...

AEROPLANE - In Flight Entertainment DAN MANGAN - Oh Fortune

Tom Waits By Jesse Dylan

ALBUM OF THE WEEK

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The Australian Academy of Dramatic Art is a department of the Australian Institute of Music

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BRAG :: 431 :: 31:10:11 :: 29

The all-ages rant brought to you by Indent.net.au & Dom O’Connor & Scarlett Di Maio

ALL-AGES GIG PICKS

Remedy

More than The Cure since 1989 with Murray Engleheart Dropkick Murphys

Kings Of Leon

O

ur feature gig this week is everyone’s favourite southernyokels-turned-arena-rockers, Kings Of Leon, who will be bringing their stadium sound to Allphones Arena (formerly Acer Arena) on November 4. These three brothers (and a cousin) have risen from humble origins to the powerhouse live act they are now. Tickets have sold out for the Friday show, but are still available for Saturday November 5. They’ll be eagerly supported by breakthrough alt-country collective Band of Horses, so a southern flavour is sure to be on everyone’s tongues as they leave Homebush this weekend.

Australian indie rockers The Getaway Plan are back, and have just announced they will be headlining this year’s Fisher’s Gig a day after releasing their new album, Requiem. Now in its 11th year, Fisher’s Gig is South-West Sydney’s premier youth music festival.

This year’s instalment goes down Saturday November 5 at Bradbury Oval, Campbelltown. Supporting them are Perth rockers The Novocaines, as well as emerging Sydney-based pop/ punkers Highways. The Getaway Plan’s performance at Fisher’s will be one of their first public performances since they disbanded in 2009, before reforming again in 2010. These awesome acts will be joined by a host of insanely talented local bands and soloists showcasing a variety of musical genres. On the flip side, if any of you are looking for experience in events or festivals, Fisher’s Gig are currently looking for young volunteers to jump on board. If you’re itching to get into the industry, volunteering at festivals is always a great way to break in. To find out exactly how, just head over to our Indent site.

If you’re on the hunt for local flavour, pop-punkers Heroes for Hire are playing a rare all-ages gig at the BaldFaced Stag on Sunday night. The whole shebang kicks off at 8pm, supported by American pop-rockers I Call Fives and three as-yet-unannounced acts. Yes, it’s a Sunday – but we guarantee those chugging power chords will wake you up.

Speaking of pop-punk… Gold-Coast five-piece Nine Sons of Dan will be playing in The Lair (at Metro Theatre) on Saturday night. From the get-go, these boys have been tipped as a band to watch out for – particularly Daniel Cox’s unique guitar style. They’ll be supported

by The Never Ever, who sport a powerpop-meets-electro sound. They’re young, they’re on the rise, and they will make you dance. It all kicks off at 8pm – yet another piece of evidence that pop-punk isn’t dead, it just goes to bed at a more reasonable hour.

as Kim Salmon & The Guys From Mudhoney, with the slab titled Until….The lineup is Matt Lukin on bass, Dan Peters on drums and Salmon and Mark Arm on guitars.

DON’T MENTION THE ROSES

SATURDAY NOVEMBER 5

DROPKICK MURPHYS

Heroes For Hire, I Call Fives The Bald-Faced Stag

The Dropkick Murphys show at the Enmore had to be one of the gigs of the year. The Murphys by now have as much grace as they do muscle, to the point where they’re like The Pogues on ‘roids (with about as many members), or a hardened-up, dub-free Clash. Which ever it is, there’s probably no more thrilling, hand-on-heart act in the world right now, with great rousing songs and walloping delivery. Their roots in the early Boston hardcore scene of Slapshot and the like are more spiritual than overt these days, thankfully, while the banjo and tin whistle speak to a grander tradition entirely.

Wonderful stuff. There’s no greater smile generator or beer seller than these guys.

These Kids Wear Crowns Metro Theatre

UNTIL

Kings Of Leon, Band Of Horses Allphones Arena Fisher’s Gig: The Getaway Plan, more TBA Bradbury Oval Nine Sons Of Dan, The Never Ever The Lair (Metro Theatre)

SUNDAY NOVEMBER 6

Canadian auto-tune enthusiasts These Kids Wear Crowns will be finishing their very first tour of Australia at the Metro Theatre on Sunday night. Currently breaking because of their techno crossover Jumpstart, these maple-syrup-loving young ones will be as bright and fresh-faced as you would be if you only started your band two years ago.

This one’s for any of you looking to get experience behind-the-scenes in performance and the arts: Sydney Opera House is currently in the process of setting up their own Youth Advisory Committee.

This means they are on the lookout for eight young people between 13-18 to work and advise them on what they would like to see, hear and do at Sydney Opera House. The selected committee members will attend meetings, a variety of great shows, and will be assigned a mentor from the Opera House. If you’re passionate about arts in Sydney, jump on this now – head to the Indent site for more details.

Lastly, a reminder to tune in to The Minor Chord on FBi Radio 94.5 this Wednesday from 5pm for more all-ages news, opportunities and gig picks. Got a demo you want spun on the radio? Send your music with a bio through to info@indent.com.au.

Nine Sons Of Dan

Back in 1995, when all raunch’n’roll roads were still leading to Seattle and The Scientists were rightly considered gods by those from Washington state, Kim Salmon did some recording in the then rock central city, with most of Mudhoney.

It’s been sitting on cassette ever since, but has now been dusted off and unveiled

Oasis’s Noel Gallagher once told us that when an interviewer asked him about a Stone Roses reunion, said writer was picked up in his chair and dumped out in the street. We could never figure out if that reaction was because Team Oasis thought the journalist was being disrespectful by mentioning another name when the focus should have been on the O band, or if the Roses were simply dead to the Gallaghers. Whatever the case, the recently reunited Roses are doing the sort of business that Oasis were achieving at their absolute peak. 220,000 tickets were sold in just over an hour for three shows at Manchester’s obviously kinda large Heaton Park in late June and early July.

LULU FOREVER

Danko Jones has had some harsh words regarding the Metallica and Lou Reed joint venture. A smarter move might have been to shut the hell up until he’s done something even vaguely resembling Master of Puppets and/or has led one of the most influential acts of all time. Just quietly. The LuLu record is out this week.

METALLICA 3D

Still on Metallica, their year of living dangerously continues with word that they’re looking at doing a movie in 3D with Journey To The Center Of The Earth producer, Charlotte Huggins. We’re thinking that the 3D glasses will have to be of the strap-on variety so that they don’t vibrate off and end up on the floor, if the project is to be a loud gig-based affair.

ON THE TURNTABLE On the Remedy turntable is Charles Gayle’s 1991 masterpiece, Touchin’ On Trane, which is a beautifully savage exercise in free sax blowing that’s right up there with Albert Ayler at his paintstripping best. It’s certainly got as much heart and gristle, and isn’t for the faint of either. Gayle, who cut his reed lip while homeless and playing under bridges and on street corners, actually recorded an album titled Delivered for Henry Rollins’ 2.13.61 label in 1997, and we seem to recall he did something with the latter day Rollins Band also. But Touchin’ on Trane is his pinnacle. Also spinning is Sam Gopal’s excellent 1969 LP, Escalator, which has just been reissued with extra tracks. This tough acid punk outfit is a meeting of Led Zeppelin I and Are You Experienced Hendrix, and featured one Ian Willis on guitar – aka Motörhead’s Lemmy. Not surprisingly, the roots of much of the mooder end of what he later did in both Hawkwind and then Motörhead are on show in the brooding feel of this recording. Not a bad guitarist, the old Ian. Charles Gayle

TOUR AND INDUSTRY NEWS The Damned return in the new year as a five-piece. (Sadly still no Rat Scabies on drums). They’ll be at the Metro on January 21. In the UK, they’ve been doing Don’t Look Back-type gigs, tackling their first and fourth albums (that is Damned Damned Damned and the expansive Black Album, respectively) which is quite a diverse chunk to tackle by anyone at one gig – let alone by a band that’s a long way from the lineup that made those original recordings. But we’re not sure the classic album thing is on the cards for the shows in Australia...

(Sounds From The Ward). The Sailors will be launching a new 7-inch at the show called Guilty Pleasure Blues, which is out on Aarght! Records. Tickets from Oztix.

Maggot Fest hits the Red Rattler on November 5, with a killer bill of serious rock and noise action, headlined by the reunited (but anything but reformed, if you catch our drift) Sailors, in their first Australian shows since 2007. Joining them are the excellent Royal Headache, Bits Of Shit, Melbourne synth punks Chrome Dome, Repairs, Terrible Truths, Chook Race, Per Purpose, Thee Mighty Childish (who of course are a tribute to the Great Billy C), Bad Aches and Meat Thump, which is Brendon (Negative Guestlist, White Cop) with Matt (Kitchen’s Floor) and Bobby

The lineup for Soundwave is getting bigger and better all the time. Those confirmed so far for what is a massive bill are Bad Religion, Cathedral, System Of A Down, Slipknot, Marilyn Manson, Machine Head, Lamb of God, Trivium, The Used, Devin Townsend Project, Coal Chamber, Dashboard Confessional, Dillinger Escape Plan, Zakk Wylde’s Black Label Society, Mastodon, The Sisters Of Mercy, Hatebreed, Biohazard, Gojira, Hellyeah, The Cro Mags and stacks more. It all happens in Sydney on February 26 at Sydney Showground.

Barfly Promotions presents The Ton-UpBoys MC Rockers Ride After Ride Party 2011 on November 6 at Jets Sports Club, Tempe, featuring Malpractice (ex-The Sets, Stupidity and Mustard Club), The Drey Rollan Band, The Crimplenes DJs and DJ Brian.

These Kids Wear Crowns

Send all-ages listings & info to theminorchordradio@gmail.com 30 :: BRAG :: 436 :: 31:10:11

Send stuff to remedy@ozemail.com.au by 6pm Wednesdays.

Pics to art@thebrag.com www.facebook.com/remedy4rock

Dropkick Murphys live photo by George Poopov

The Minor Chord

BRAG :: 431 :: 31:10:11 :: 31

live reviews What we've been to see...

CHRIS CORNELL, MAT MCHUGH

MUSICA /TUMBALONG

Sydney Opera House Sunday October 23

Tumbalong Park Saturday October 22 It’s not often we get the opportunity to celebrate underground electronica, outdoors, on a big PA in the heart of the CDB; there’s normally a couple of hours of driving involved. Musica’s sourcing of the permit for this event was an accomplishment in itself, and an interesting development for dance music in Sydney; it felt good that our little cultural cross-section of the community was permitted use of the this prime public space just off Darling Harbour. An outdoor music festival is a concept that often scares the powers that be, but I think we demonstrated that our version of fun is as harmless as the children playing in nearby fountains – albeit a little louder, and tougher on the grass.

There were a couple of late lineup changes after Baths were removed from the bill, and Brisbane-based indie disco band Mitzi trumped New Navy in the warm-up timeslot, with just a few more hits to their still youthful repertoires. Both bands were a fitting, yet low-key build-up to the onslaught that was to come. NZ three-piece Electric Wire Hustle drew the slowly swelling crowd of wallflowers down in front of the stage for a musical display of dub reggae, soul and jazz breaks. The trio produce a much bigger sound than seems feasible through a clever use of tech, and the result is a live show that’s comparable to the massive sound that Hermitude squeeze out of their dual operators. EWH’s drummer is a monster of a player, and the spiritual frontman has an unapologetic, genuine style. These guys are blazing their own trail, and it was choice (bro) to watch them work in the sunshine.

The afternoon really ramped up when Tiger & Woods came on, the two lightly-built Italian 4/4 producers taking slow-burning Italo disco into brave new territory. It was great to hear an act keep the BPM’s so low – no banging festival set for these guys – and they stayed true to their roots in front of an appreciative audience. Festivals need more of this attitude from performers; I felt respected as a fan!

We only caught glimpses of the pair’s faces, hidden under baseball caps, when they looked up to gauge our reactions to their ridiculously massive basslines.

was Lunice who really took the party up a gear or 20. And I thought Flying Lotus was a showman! The Canadian producer has emerged as the new boss of hip hop and credible RnB, making bangin’ tracks for the most forward-thinking of MCs as well as dropping his own instrumental bombs.

And in a live setting he’s really got some game. The Montreal resident has picked up where Diplo’s Mad Decent juggernaut has skippered the beat movement, and brought in a wealth of new influences while adding a layer of studio mastery that may be unrivalled right now. His massive, party-rocking set was comprised of RnB, rap and hip hop (albeit underwritten by a futuristic bed of bass) that somehow managed to poke an ironic sense of fun at the questionable end of RnB culture, while at the same time demonstrating just how spoton that style can be in the right hands. There really is a bit of everything in Lunice’s sound, from rave and EDM to crunk, reggaeton, global ghetto-tech, and even some synthy trance melodies. He has to be seen live to be believed.

After Lunice, it was as if we’d already witnessed the closing set, and it was difficult to imagine who could top it. As it turned out, SBTRKT was that man. After opening with his new Radiohead remix, and dropping ‘Right Thing To Do’ from his debut record not long after, he launched into a set of constantly shifting BPMs that took in rushing, barrelling techno, tons of crisp UK garage/ funky, futuristic post-dubstep, and just enough of the beautiful vocal recordings that carried his recent album so far. So often the hype surrounding a “great new hope” results in disappointment, but SBTKRT has developed something unique, and he came through for us at Musica.

Tony Edwards EY MAR

OUR PHOTOGRAPHER : ASHL

Entertainment Center Tuesday October 25 I’m 31 now, and as such I listen to a lot of 101.7 WSFM. I figure the reason to do this is because every one of the songs they play is a certified platinum hit single, and those kinds of tunes don’t age badly. It makes sense that I’m also into both Steely Dan and Steve Winwood in a pretty big way.

Steely Dan are more of a song-tosong proposition for me; a ‘70s vibe that encompasses a variety of styles, to varying degrees of quality. I love the defiantly uncool nature of their interests – jazz, studio musicians and production smarts – and I like Donald Fagen’s sneering vocal and songwriting ability. Steve Winwood, on the other hand, is a hero of blue-eyed soul, and I love virtually anything he does. The Entertainment Center show was a good chance to see both acts stretch out a little – and although Steely Dan have hits on their side, Winwood prevailed as the one to watch; a true journeyman songwriter, an incredible musician and a wonderful, timeless singer.

Despite minimal production and a strippedback setlist, Winwood proved why he has been a sideman for acts like Eric Clapton and Jimi Hendrix, blazing through a repertoire including early Spencer Davis Group tunes like ‘I’m A

Beautiful Girls frontman Mat McHugh was standing on stage as I ventured into the Concert Hall. Spotlit like a prison escapee, he cut a lonely figure as he played through a reggae- and dub-tinged acoustic set.

The modest crowd sat in the full blaze of the house lights for some reason, but showed their appreciation at his set-closer: a double-header of The Beautiful Girls’ ‘La Mar’, seguing into Pearl Jam’s ‘Black’, which roused the more knowledgeable punters.

As the lights finally dimmed, the murmuring

DROPKICK MURPHYS, LUCERO, THE CORPS The Enmore Theatre Thursday October 20 “Sham-rock” is an unfairly cutesy term for a band that kick as much wholesale arse as Dropkick Murphys, so let’s stick with Celt-punk, ‘kay?

Bringing St Patrick's Day with them wherever they go, it was nice to see the boys back in town yet again.

New Brownswood signing Ghostpoet was the wild card on the bill for my money, but his subdued recordings were worked into compositions that translated brilliantly to the big stage. In the tradition of great men like Roots Manuva and Gil Scott-Heron, the vocalist displayed his mastery of a difficult and rare performance style. Soaking up his futuristic fusion, the backdrop of the Sydney CDB skyline seemed fitting, the MC’s art and messages a reflection of the modern urban landscape. But it

STEELY DAN, STEVE WINWOOD

In 2007, Chris Cornell, fresh from his departure from the Frankenstein’s monster that was Audioslave, was embarking on his first solo tour of Australia. As he sat on stage at the Enmore Theatre, I wonder if he ever thought that his return to our shores, four years later, would see him performing solo in the Sydney Opera House Concert Hall. Certainly Cornell could never have envisioned it as he bashed out heavy riffs with his Soundgarden bandmates back in 1984. Yet tonight the Concert Hall stage, stacked with guitars, record players and a single leather chair, was the unlikely final stop for the Australian leg of Cornell’s Songbook tour.

Man’ and ‘Gimme Some Lovin’ alongside solo moments. The highlight was his US #1 hit ‘Higher Love’. Seated at the organ, Winwood’s voice provided all the necessary drama – and it’s a full-on soul blowtorch, even at over 50 years of age. Even with the omission of my favourite song, ‘Valerie’, Winwood's set alone was enough to make my night.

Steely Dan were a bigger production, with lights and backing singers and horns. It looked exciting, but as I’d seen recent YouTube performances, I tried not to get my hopes up: modern-day Donald Fagen chooses awkward keyboard sounds, and can’t sing. Over the hour and 45 minutes they were on stage, they played almost everything I wanted to hear. ‘Rikki Don’t Lose That Number’ was great, as was ‘My Old School’ – but even though I love 'Do It Again’, it's a really athletic song, and Fagen can’t SING!

Local fellas The Corps started fast and only got faster. Driving guitars and an incendiary live presence got the crowd riled up, and I’m keen to see them headline – if only to see how they could keep up the cracking pace of their set for a longer gig.

Following on, DKM’s tour partners Lucero won my heart the moment I saw the steel lap guitar. Their alt-country style shifted the crowd down a few gears after the onslaught of The Corps; their set was a good chance to chill with a beer and prepare oneself.

If you’ve never seen Dropkick Murphys live, 'missing out' doesn’t even begin to cover it. They don’t have fans, they have a tribe in green t-shirts and leather. They stormed the stage fast and launched into ‘Hang ‘em High’, the opening track from their latest album. The pit couldn’t have gone off harder if someone lobbed a live grenade in there – within seconds the first of many were tumbling over the barrier and into the waiting arms of security. The chorus of “lower the cannons, the battle begins!” was especially apt, and there was barely a breath before the assault of

turned to a deafening roar, and Chris Cornell sauntered on stage, greeted by a standing ovation. Shaggy haired and simply dressed in a white tee and jeans, Cornell calmly sat on his chair and started talking to the crowd as though we were old friends. Touching on how this tour of Australia had been one of the best in his life, and sharing his amazement that he could say ‘fuck’ inside the Opera House, he picked up his guitar and began. There were some truly astonishing moments, from a beautifully sorrowful rendition of Audioslave’s ‘Getaway Car’, to a Soundgarden back-catalogue of ‘Fell on Black Days’, ‘Spoonman’ and ‘Black Hole Sun’ that sent endorphin levels out of control.

Cornell’s piano ballad ‘When I’m Down’ – with the use of nothing but a backing record playing on a turntable – was haunting, and the scary isolation oozing from his version of Bruce Springsteen’s ‘State Trooper’ could only be matched by his now-famous version of Michael Jackson’s ‘Billie Jean’, which he strips and slows, giving the lyrics a newfound sense of heartache.

Cornell's voice never faltered; his iconic gravelled wail held true for the two hours on stage, and his performance exhibited a level of mastery that I personally wasn’t quite expecting – although it seemed like everyone else in the house knew exactly what they were in for.

Rick Warner

‘Sunday Hardcore Matinee’, another new track and an ode to the shows that inspired them.

They effortlessly shift between old tracks and new, always keenly aware of what the audience came to hear.

Singer Al Barr wields the mic like a lead pipe, with his growl complemented by bassist Ken Casey’s more cheerful vocals. Every track became a singalong, and the crowd more than matched the relentless energy of these tough-looking but sentimental bastards. A mid-set acoustic session was a welcome respite from the mosh-pit spin-cycle; while Al is the taciturn frontman, Ken is the storyteller, and he spoke with real passion about their frequent trips to Australia (DKM have been here at least once a year for as long as I can remember, new album or not). These guys work their arses off, and it shows.

A surprise cover of AC/DC’s ‘TNT’ was terrifying, but the opening notes of ‘Shipping Up To Boston’ made me think someone actually did throw a grenade; the band's backdrop fell away to reveal a stylised jolly roger as everyone went mental. They quickly returned to close the show with an encore of, as always, ‘Kiss Me, I’m Shitfaced’, with almost every woman in the crowd joining them on stage.

You should really go see them next time.

Robbie Miles

Because Walter Becker doesn’t have to sing, he really only has to be fat and play guitar (which he proved to be pretty good at). Both Fagan and Becker are excellent musicians, the band played awesome, and there were plenty of good songs to go around – but at a listening gig like this, no-one in the crowd is singing loud enough to cover up the shitty vocal. That’s my only complaint – otherwise, I was in MOR ‘70s heaven for about three hours.

Good work, nostalgia tour gods. More please.

Jake Stone OUR PHOTOGRAPHER : GEORGE

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POPOV

live reviews What we've been to see...

THE JEZABELS

The Enmore Theatre Sunday October 23 Tonight at the Enmore Theatre, the twin harmonies of Melbourne six-piece Alpine alongside Canada’s Hey Rosetta! couldn’t compare to the power and charisma of The Jezabels’ lead singer, Hayley Mary. After teasing us with a trilogy of EP releases and time spent on the international touring circuit, it was finally time for Sydney fans to join The Jezabels as they breathed life into Prisoner, their debut album. The four-piece held the sold-out theatre captive from the start. Silhouetted behind a curtain, the Gothic romance of the evening began as the title track ‘Prisoner’ was played from behind the shroud. And then, there they were. And there she was.

Dressed in all black and a fringed-sleeve jacket that would make Joan Jett eat her heart out, Hayley Mary seduced the crowd with an epic set. I don’t mean epic in a trendy way; instead, Hayley’s performance brings a sense of grandeur and drama to each song, framing them like chapters from a classic novel. Songs like ‘Trycolour’ build strong, often heart-wrenching narratives, and the dynamic band arrangements provide for moments of climax and haunting stillness. While it was quite clear that songs like ‘Mace Spray’ and ‘Hurt Me’ from the EPs were fan favourites, tracks from the new album, amongst them the strong point of ‘City Girl’, played to the dramatic tone of the night. The sincerity demonstrated by the band showed that, whatever they choose to perform, every song should be treated as a generous showcase of their songwriting and musical talent.

The nostalgia conveyed in ‘Endless

OUR PHOTOGRAPHER : ASHL

EY MAR

Summer’ felt to me like a link to their earlier work. ‘The Long Highway’ has the same cinematic feel as ‘Sahara Mahala’, and the high energy of their encore number, ‘Disco Biscuit Love,’ seemed like an homage to the fans who have really seen The Jezabels through to this moment. The crowd sung along as they could, though not everyone can hit those high octaves quite the way Hayley does. She’s got all the dark wildness of Kate Bush, and the lingering air of Dolores O’Riordan.

As it should be with a world-class act, each member of The Jezzies is unique in their own right, and can hold their own whether on the piano, the drums, or the guitar.

The energy, the angst, the hip-thrusting hypnotism of their frontwoman is more than a match for the power of the music, and together it's enough to hold anyone’s attention across a thrilling evening.

Rebecca Sharp

Waste Management & New World Artist Present

BRITISH INDIA Sat Nov 12 The Gaelic Club special guests

King Gizzard & The Wizard Lizard and The Betty Airs www.oztix.com.au

She Prefers Older Men FREE DOWNLOAD www.britishindia.com.au BRAG :: 436 :: 31:10:11 :: 33

snap sn ap up all night out all week . . .

radiant @ fbi social

It’s called: Betty Airs ‘Juvenile’ Single Launch

It sounds like: Garage/surf/pop party party party GOODTIMES! Who’s playing? Betty Airs (SYD), The Bungalows (GERRINGONG), The Ganaschz (BRIS) Sell it to us: The Bettys are travelling around Australia promoting their new single, ‘Juvenile’. Join us for a night of party party goodtimes for our hometown launch. ‘80s cheese-hop/'50s megamix dancefloor afterparty will follow!

The bit we’ll remember in the AM: The cheap pub-price drinks and the down-to-earth happy people.

Crowd specs: Small fun room upstairs at The Roxbury filled with rad dudes and dudettes.

Wallet damage: $10 Where: The Roxbury Hotel / 182 St Johns Road, Glebe When: Saturday November 5, 6pm!

PICS :: TL

party profile

betty airs single launch

mum

PICS :: TP

20:10:11 :: Kings Cross Hotel :: 248 William St Darlinghurst 2010 9331 9900

20:10:11 :: Entertainment Centre :: 35 Harbour St Darling Harbour 9320 4200 KATRINA CLARKE :: ASHLEY MAR S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: CHY PEA MAS THO :: OV :: DANIEL MUNNS :: GEORGE POP

34 :: BRAG :: 436: 31:10:11

brothers grim

PICS :: GP

def leppard

PICS :: AM

21:10:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

21:10:11 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 93323711

snap sn ap up all night out all week . . .

witch hats / lost animal party profile

It’s called: Witch Hats / Lost Animal – double album launch

It sounds like: Lost Animal’s Ex Tropical – perhaps the perfect soundtrack for spring: a little bit smooth, a few dub grooves, some rock sentiment and tunes you won’t regret memorising. Witch Hats’ Pleasure Syndrome: their second full-length album, packed with seminal dirty pop hits.

Who’s playing? Witch Hats, Lost Animal, Circle Pit, Kirin J Callinan.

Sell it to us: Lost Animal (Jarrod Quarrell – formerly of St Helens) and Witch Hats, two of the finest bands in the country, launching brand-new albums with good vibes and great sounds – one night only! Witch Hats’ album is getting play all over, and Lost Animal’s Ex Tropical was a recent feature album in, um, the BRAG. The bit we’ll remember in the AM: Lost Animal’s incredible swagger and charm, and Witch Hats for writing terrifically buoyant, brooding tunes.

Crowd specs: Over-18s.

Wallet damage: $15 Where: The Gaelic Theatre / 64 Devonshire St, Surry Hills

okkervil river

:: The Metro Theatre :: 624 George St City 92642666

lyarr

PICS :: AM

18:10:11

PICS :: AM

When: Saturday November 5 / doors open 8pm.

23:10:11 :: Marrickville :: Illawarra & Marrickville Rds KATRINA CLARKE :: ASHLEY MAR S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: CHY PEA MAS THO :: OV :: DANIEL MUNNS :: GEORGE POP

jonathan boulet

PICS :: GP

marrickville festival

PICS :: GP

20:10:11 :: Goodgod :: 53-55 Liverpool St Sydney 9267 3787

21:10:11 :: The Standard :: Lvl 3 383 Bourke St Surry Hills 9552 6333 BRAG :: 417 :: 20:06:11 :: 35

g g guide gig g send your listings to : gigguide@thebrag.com

pick of the week Boy & Bear

SUNDAY NOVEMBER 6

Enmore Theatre E

Boy & Bear, Ball Park Music, The Paper Kites $44.80 (+ bf)–$69.75 (incl CD) 8pm MONDAY OCTOBER 31 ROCK & POP

Matt Jones The Observer Hotel, The Rocks free 8.30pm The NOW now Series: Zhang Shouwang (China), Joel Stern & Anthony Guerra, Michael Muniak & Nick Dan, Henry Mills Hibernian House, Surry Hills $8-$10 7.30pm Singled Out The Three Wise Monkeys, Sydney free 10pm Steve Tonge Coogee Bay Hotel, Beach Bar free 9pm

JAZZ

James Ryan 505 Club, Surry Hills $10–$15 8pm Latin & Jazz Open Mic/Jam Session: Rinske Geerlings, Daniel Falero, Philip Taig, Pierre Della Putta The World Bar, Kings Cross

36 :: BRAG :: 436 : 31:10:11

Lionel Robinson Dee Why RSL Club free 6.30pm

ACOUSTIC & FOLK

Creatives: Natasha Rindflesh Queen Street Studios, Chippendale $25 7pm Dennis Aubrey, Noel Davies, Pim, Russell Neal Orange Grove Hotel, Lilyfield free 7pm Tim Richardson, Massimo Presti, Helmut Uhlmann Kellys On King, Newtown free 7pm

TUESDAY NOVEMBER 1 ROCK & POP

Adam Pringle and Friends Downstairs, Sandringham Hotel, Newtown free 8pm Andy Mammers Crows Nest Hotel free 4pm Barb Wire Engadine RSL & Citizens Club free

Ben Finn Duo PJ Gallagher’s Parramatta free 3.30pm Cambo Austral Bowling Club free 1.30pm David Agius Trio Castle Hill Tavern free 2pm Duncan Woods Docks Hotel, Darling Harbour free 5pm Flamin’ Beauties Royal Hotel, Springwood free 4pm Happy Hippies Ettamogah Pub, Kellyville free 2pm Hip Trip Castle Hill RSL Club free 12pm John Field Duo Mounties, Mount Pritchard free 12pm Live and Local: Jorden Banning, Bec Sandridge, Bad Feeling Woman, DNA Lizotte’s Restaurant, Dee Why $15 8pm Lovers Electric The Vanguard, Newtown $15 6.30pm The Magic of Buble: Nathan Dyer

North Sydney Leagues Club, Cammeray $49 11.30am Mandi Jarry Duo Dee Why Hotel free 2.15pm Mark Travers Ettamogah Pub, Kellyville free Matt Jones Novotel Homebush, Homebush Bay free 12pm Matt Price And Jess Dunbar Mill Hill Hotel, Bondi Junction free 3.15pm Matt Seaberg Beach Palace Hotel, Coogee free 4pm Mike Bennett Peachtree Hotel, Penrith free 1pm Mojo Juju Gardel’s Bar @ Portento, Surry Hills free 8pm OMG Scruffy Murphy’s, Sydney free 11pm Outlier Customs House Bar, Circular Quay free 4pm Pop Fiction Castle Hill RSL Club free 3.30pm Reckless Trio Mean Fiddler, Rouse Hill free 3.15pm Renae Kearney Waterworks Hotel, Botany free 3.15pm Rob Henry The Observer Hotel, The Rocks free 8.30pm Sam & Jamie Trio Kirribilli Hotel free 3.15pm Sneaky Sound System Rock Lily, Pyrmont 4pm The Songwriter Sessions Sandringham Hotel, Newtown free 7.30pm The Sphinxes, David Sattout, Matthew Flood, Dan Usher, Black Diamond, Peter Crowder, Carolyn Crysdale Kogarah Hotel free 7pm Steve Tonge Mean Fiddler, Rouse Hill free 11am Steve Tonge O’Malley’s Hotel, Darlinghurst free 9.30pm They Call Me Bruce Maloney’s Hotel, Sydney free 8.30pm Tuesday Night Live: Bondi Jam, Taylor Hogan Beach Road Hotel, Bondi free 8pm Tony Wild Pennant Hills Bowling Club free 1pm Zoltan Cabravale Diggers, Canley Vale free 11am

JAZZ

Ian Blakeney Dee Why RSL Club free 6.30pm Jazzgroove: Leigh Barker & the New Sheiks, Ron Philpott Quintet 505 Club, Surry Hills $8 (conc)–$10 8pm

WEDNESDAY NOVEMBER 2 ROCK & POP

Andy Mammers Duo Maloney’s Hotel, Sydney free 9.30pm Bernie Segedin Dee Why RSL Club free 6.30pm Bradley Cork & The Folklore Mantra, Ray Ray Ray, The Jetsons The Valve, Tempe free 7pm

Carsick Cars Croatian Club Ltd, Punchbowl 8pm Dan Spillane Mean Fiddler, Rouse Hill free 6pm Gemma The Observer Hotel, The Rocks free 8.30pm Georgia Fair The Standard, Darlinghurst $12 (+ bf) 8pm Hard-Ons, Epics, Batfoot Sandringham Hotel, Newtown $12 8pm In Pieces The Orient Hotel, The Rocks free 9pm Jamie Lindsay Northies, Cronulla free 7.30pm Lanie Lane, The Fearless Vampire Killers, Miss Little The Vanguard, Newtown $15 6.30pm Luke Dixon Summer Hill Hotel free 7.30pm Mojo Juju Brass Monkey, Cronulla 8pm Musos Club Jam Night Bald Faces Stag Hotel, Leichhardt free 8pm Open Mike Night Fitzroy Hotel, Windsor free 7.30pm Outlier Scruffy Murphy’s Hotel, Sydney free 11pm Paul Dempsey, Ben Salter The Annandale Hotel $33 8pm Philip Ricketson Downstairs, Sandringham Hotel, Newtown free 8pm The Study: Tristen Bird Gaelic Theatre, Surry Hills free 7.30pm Super Wild Horses, Straight Arrows, Ganaschz Beach Road Hotel, Bondi free 8pm

JAZZ

Craig Scott Quintet 505 Club, Surry Hills $10–$15 8pm

ACOUSTIC & FOLK

Men With Day Jobs, Daniel Hopkins Taren Point Hotel free 8pm Russell Neal Cat and Fiddle Hotel, Balmain free 6.30pm TAOS, Senani, John Chesher Coach & Horses Hotel, Randwick free 7pm

THURSDAY NOVEMBER 3 ROCK & POP

Andy Mammers Harbord Beach Hotel free 8pm Carsick Cars (China), Mere Women, Rites Wild FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm Cartel (USA), The Miracle Is Now Gaelic Club, Surry Hills $26 (+ bf) 8pm Chris Stretton Toxteth Hotel, Glebe free 8pm Claire, Broadway Mile Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Darren Hayes, Brendan Maclean Enmore Theatre $60 8pm all ages Epidemic… Over, Fifth Fiction, I Nation,

Face Down Fax Machine The Valve, Tempe free 7pm Hot Damn: Hands Like Houses, Sound of Season, Critics, Elliot The Bull, Fallfromglory Spectrum/ 34B/ Q Bar, Darlinghurst $15-$20 8pm Jesse Morris & The Three Beans Notes Live, Enmore 8pm Johnathan Devoy Downstairs, Sandringham Hotel, Newtown free 8pm Lanie Lane, The Fearless Vampire Killers, Miss Little The Vanguard, Newtown sold out 6.30pm The Living Chair Bull & Bush Hotel, Baulkham Hills free 9.30pm Matt Jones Trio Scruffy Murphy’s, Sydney free 10pm Musos Club Jam Night Carousel Hotel, Rooty Hill free 8pm Outlier Stacks Taverna, Darling Harbour free 6pm Paris Wells, Benjalu, Somatik, Bentley Beach Road Hotel, Bondi Beach free 8pm Paul Dempsey, Ben Salter The Annandale Hotel $33 8pm Pete Murray, Busby Marou, M. Jack Bee Penrith Panthers $39.90 (+ bf) 8pm Petulant Frenzy plays Frank Zappa Sandringham Hotel, Newtown $15 8pm Phil Jamieson Brass Monkey, Cronulla 8pm Speakeasy The Whitehouse Hotel, Petersham 8pm Step-Panther Red Eye Records, Sydney free 5pm Tristen Bird, Esther Lamb, Mike Antoniou Arthouse Hotel, Sydney $10 7pm Underlights, The Go Roll Your Bones, The Faults GoodGod Small Club, Sydney $12 8pm The White Bros The Orient Hotel, The Rocks free 9pm

JAZZ

Barney McAll 505 Club, Surry Hills $20 (conc)–$25 8pm Lionel Robinson Dee Why RSL Club free 9.30pm

ACOUSTIC & FOLK Dave Wilkins The Marlborough Hotel, Newtown free 8.30pm

FRIDAY NOVEMBER 4 ROCK & POP

Backsliders Brass Monkey, Cronulla 8pm Blonde 182 Customs House Bar, Circular Quay free 7pm Cameras, Winter People, Michael Mooney, Beaufields The Standard, Darlinghurst 8pm Chartbusters The Three Wise Monkeys, Sydney free 10.30pm

g g guide gig g

send your listings to : gigguide@thebrag.com Chicks Who Love Guns, Let Me Down Jungleman, Sweet Teeth Spectrum, Darlinghurst $12 8pm Chook Race, Unity Floors, Bad Arches, Marf Loth Dirty Shirlows, Marrickville $10 8pm Christa Hughes, The Cope St Parade The Rock Village Bizarre free 6pm The Crooked Fiddle Band, The Barons of Tang, Kira Puru & The Bruise The Factory Theatre, Enmore $18 (presale)–$20 8pm Daryl Braithwaite Manly Fisho’s 8pm The Delta Riggs, Dirty Little Rebels, Crooked Saint, Naysayer, Gilsun Upstairs Beresford, Surry Hills free $10 (+ bf) 6pm Dirty Deeds – The AC/DC Show Ettalong Beach Hotel free 8.30pm Drive: Peter Northcote Bridge Hotel, Rozelle $15 3.30pm Elevation U2 Tribute Wentworthville Leagues Club free 10pm Emma Louise, Charlie Mayfair Goodgod Small Club, Sydney $12 (+ bf) 8pm Endless Summer Beach Party The Marlborough Hotel, Newtown free 10.30pm Epidemic St James Hotel, Sydney 8pm Fallon Duo Dooleys Lidcombe Catholic Club free 8.30pm The Fiddle Notes Live, Enmore $29.60 7pm

Finn Jack Duggan’s Irish Pub, Bathhurst free 8.30pm Gary Johns The Orient Hotel, The Rocks free 5pm Hue Williams Ettalong Beach Cabana free 6pm Ignition Scruffy Murphy’s Hotel, Sydney free 10.30pm Jivecat Jamboree!: Big Jay McNeeley, The Adam Hill Band The Basement, Circular Quay $40 8pm Killer: Absolution, Epidemic… Over, I-Nation, Hunt the Haunted St James Hotel, Sydney $10$12 9pm King Cannons, Jackson Firebird, The Strums Oxford Art Factory, Darlinghurst $12 (+ bf) 8pm Kings Of Leon (USA), Band of Horses (USA) Allphones Acer Arena, Sydney Olympic Park $102–$130 8pm sold out Kirk Burgess Duo Stacks Taverna, Darling Harbour free 6pm La Vista Petersham RSL Club free Ladysmith Black Mambazo (South Africa) State Theatre, Sydney $89.90 (+ bf) 8pm Lanie Lane, The Fearless Vampire Killers, Miss Little The Vanguard, Newtown $15 6.30pm sold out Liza Ohlback, Chiara Brown Lizotte’s Restaurant, Dee Why $22 8pm Mad Season Wentworthville Leagues Club free 10pm Memory Loss Dundas Sports Club 8.30pm

The Model School, World Champion, Jo Meares and the Honeyriders The Square, Haymarket $5 8pm MUM: The Shake Up, Naysayer & Gilsun, Royston Vasie, Rargo, Albatross, Rainbow Chan, Ghoul DJs, Kato, Frames, Adrian Gidaro, MUM DJs The World Bar, Kings Cross $10-$15 8pm Paris Wells FBi Social @ Kings Cross Hotel, Darlinghurst $15 8pm Phil Jamieson The Vault, Windsor $33 (presale)–$40 9pm Rampage, Herratik, Tortured, Infested Entrails, Festering Drippage The Valve, Tempe free 7pm Reckless The Orient Hotel, The Rocks free (early bird)–$5 9.30pm The Rockets, Sativa Sun, Conics Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Rufflefeather, The Pixiekills, The Black Heist, Edens March Sandringham Hotel, Newtown $10 8pm Satellite V Rose of Australia Hotel, Erskineville 8pm Sticky Fingers, The Bungalows, Flight Annandale Hotel $10 (+ bf) 8pm Sydney City Trash, Billy Goat & The Mongrels, Handasyd Williams & the Brother’s Primitive, Andy Golledge, Nick Waters Gaelic Theatre, Surry Hills $12 (+ bf) 8pm They Call Me Bruce Engadine RSL & Citizens Club free 8pm

King Cannons

Thrall, Creeping, Erebus Enthroned, Bleakwood The Bald Faced Stag Hotel, Leichhardt $15 8pm Tim Finn (NZ), Swamp Thing Metro Theatre, Sydney $43.90 7pm Tone Rangers Kingswood Sports Club free 7pm Tristen Bird The Tea Club, Nowra $7 7pm Unforgettable Ramsgate RSL, Ramsgate Beach free 8pm

JAZZ

The Coffin Brothers The Sound Lounge, Seymour Centre, Chippendale $10-$20 8.30pm Monica Trapaga and the Todd Hardy Swing Orchestra with Brad Child 505 Club, Surry Hills $15 (conc)–$20 8pm Unity Hall Jazz Band Unity Hall Hotel, Balmain free 8pm

ACOUSTIC & FOLK Elissa Shand, Benwardi, Hannah Wisse, Owen Platt, Tim Richardson, Carolyn Woodorth

Black Gold Record Fair The Local Taphouse, Darlinghurst $5 11am all ages BNO Rockshow Mean Fiddler, Rouse Hill free 9.30pm Boy & Bear, Ball Park Music, The Paper Kites Enmore Theatre $44.80 (+ bf)– $69.75 (incl CD) 8pm sold out The Buddys Rockdale RSL Club free 7.30pm Cafe Of The Gate Of Salvation The Factory Theatre, Enmore $22.50 (conc)–$32.50 (+ bf) 8pm Chris Turner Downstairs, Sandringham Hotel, Newtown free 4pm Crossing Red Lines, Limited Head Space, Taylor King, Papa Pilko & The Bin Rats, Equal Army, Dan O’Connell Fiddlers The Valve Bar, Tempe $8 6pm The DC3, Pinky Beecroft, Death Mattel Sandringham Hotel, Newtown $15-$20 8pm Destruction, Mortal Sin, 4 Arm, Killrazor Bald Faced Stag, Leichhardt $55 (+ bf) 8pm Dirty Deeds – The AC/DC Show Oatley Hotel free 8.30pm Gibbo Duo Dooleys Lidcombe Catholic Club free 8.30pm Good Time Music Guildford Leagues Club free 8pm Helpful Kitchen Gods, Special Patrol Group, Antibodies, Milkmaids Gladstone Hotel, Chippendale free 8pm Humpty Dumpty Foundation Fundraising Event: Nothin Too Serious, Ed Rodrigues

Everglades Country Club, Woy Woy free 7pm Josh McIvor The Belvedere Hotel free 8pm Mark De Vosh, Daniel Hopkins Bowral Hotel free 7.30pm Musical Odysseys of the Far East: Bukhu, Vimala Sarma, Madakto Eastside Arts, Paddington $22 (member)–$28 8pm

SATURDAY NOVEMBER 5 ROCK & POP

Allan Samyia Petersham RSL Club free 8.30pm Andy & the Cruisers Bankstown Sports Club free 9pm Backsliders The Vault, Windsor free 8pm The Best Of Blues: Ray Beadle Band, Mal Eastick Band, Jim Conway’s Big Wheel, All-Star Jam Notes Live, Enmore $29.60 7pm Betty Airs, The Bungalows, The Ganaschz The Roxbury Hotel, Glebe 8pm

ALBUM LAUNCH wed

02 Nov

(9:00PM - 12:00AM)

thu

03 Nov

(9:00PM - 12:00AM)

fri

04 Nov (5:00PM - 8:00PM)

(9:30PM - 1:30AM))

SUNDAY AFTERNOON

SATURDAY AFTERNOON (4:30PM - 7:30PM)

sat

05 Nov

SATURDAY NIGHT

(9:00PM - 12:00AM)

sun

06 Nov

(4:30PM - 7:30PM)

SUNDAY NIGHT

(8:30PM - 12:00AM)

SATURDAY 5TH NOVEMBER THE GAE LIC CLUB

with LOST AN (‘EX TROPICAL’ AL IMAL BUM LAUNCH) + CIRCLE PIT + KIRI PRESALES VIA WW

N J. CALLINAN

W.MOSHTIX.COM.AU

Pleasure Syndrome OUT NOW www.longtimelistener.com.au

BRAG :: 436 :: 31:10:11 :: 37

g g guide gig g send your listings to : gigguide@thebrag.com New Navy

Band Lizotte’s Restaurant, Dee Why 8pm Janet Jackson (USA) Concert Hall, Sydney Opera House $119.90–$299.90 8pm JD’s Duo Engadine RSL & Citizens Club free 8pm Jimmy Bear The Orient Hotel, The Rocks free 4.30pm Kill City Creeps, East River, The Slips, DJ Lancelot Upstairs Beresford, Surry Hills free $10 (+ bf) 6pm Killed By Death The Whitehouse Hotel, Petersham 9pm Kings Of Leon (USA), Band of Horses (USA) Allphones Acer Arena, Sydney Olympic Park $102–$130 7.30pm Kiri Puru & The Bruise The Factory Theatre, Enmore $18 (conc)–$20 8pm Kylie Show Kiama Leagues Club free 8pm Lanie Lane, The Fearless Vampire Killers, Miss Little The Vanguard, Newtown $15 6.30pm sold out Laura Imbruglia, Magnetic Heads, Polyfox & The Union Of The Most Ghosts

FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm Lj Kro Bar, Bondi Junction free 8pm Mad Season Mingarra Recreation Club free 8pm Mad Sin (Germany), The Casino Rumblers, The Corps, Rust Annandale Hotel $45 (+ bf) 8pm Maggot Fest 2011: The Sailors, Royal Headache, Bits of Shit, Chrome Dome, Repairs, Terrible Truths, Chook Race, Per Purpose, Tough Troubles, Ally Oop and the Hoopsters, Bad Aches, Meat Thump, Thee Mighty Childish Red Rattler, Marrickville $23.50 5pm Mal’s Open Mic night: The Furious Five Panania Hotel free 9pm Mandarin Band Dooleys Lidcombe Catholic Club free 8pm Mark Da Costa Scruffy Murphy’s Hotel, Sydney free 10.30pm Mr James Band Ramsgate RSL, Ramsgate Beach free 8pm

The Never Ever, Nine Sons Of Dan The Lair, Metro Theatre, Sydney $16 6.30pm New Navy, Flume, Future Classic DJs Oxford Art Factory, Darlinghurst $15 (+ bf) 8pm Nickleback Show Colyton Hotel free Nine Sons of Dan, The Never Ever The Lair, Metro Theatre, Sydney $16 (+ bf) 8pm all ages Penny Ikinger Band, The Dead Marines The Square, Haymarket $12 8pm Pete Murray, Busby Marou, M. Jack Bee Hornsby RSL $39.90 (+ bf) 8pm Rikki Organ & The Organgrinders Dance Band Campbelltown RSL free 8.30pm Road Crew Beach Palace Hotel, Coogee free 10pm The Selkies, CJ Shaw, Chris Mallory Tramshed Community Arts Centre, Narrabeen $20 7.30pm SFX: Tenpenny Towers, Howler, Mung, Asteroids St James Hotel, Sydney $12$15 9pm Sound Stream Brighton RSL Club, BrightonLe-Sands free 8pm Stormcellar Jannali Inn free 7.30pm Totally Ga Ga Bull & Bush Hotel, Baulkham Hills free 10pm Unforgettable Regents Park Sporting & Community Club free 7.30pm Williams Brothers Trio The Orient Hotel, The Rocks free (early bird)–$5 9pm

Witch Hats, Lost Animal, Circle Pit, Kirin J. Callinan Gaelic Theatre, Surry Hills $15 (+ bf) 8.30pm

JAZZ

The Dilworths The Sound Lounge, Seymour Centre, Chippendale $10-$20 8.30pm Lucky Oceans 505 Club, Surry Hills $15 (conc)–$20 8pm

ACOUSTIC & FOLK

Beecroft Bush Dance Beecroft Community Centre $12 (member)–$17 8pm Doc Halliday The Belvedere Hotel free 9pm Russell Neal Terrey Hills Tavern free 7pm Singled Out The Marlborough Hotel, Newtown free 10.30pm

COUNTRY

Luke O’Shea, Medicine Wheel Brass Monkey, Cronulla $18.90 (+ bf) 7pm

SUNDAY NOVEMBER 6 ROCK & POP

Ace Brighton RSL Club, BrightonLe-Sands free 7pm The Beatvilles The Orient Hotel, The Rocks free 8.30pm Boy & Bear, Ball Park Music, The Paper Kites Enmore Theatre $44.80 (+ bf)–$69.75 (incl CD) 8pm

Brian Gillette Dooleys Lidcombe Catholic Club free 4pm Dexter Morph, Daniel March Lizotte’s Restaurant, Dee Why $29 8pm The Dunhill Blues Downstairs, Sandringham Hotel, Newtown free 4pm Eat Noise: Breaking Orbit, Aural Window, The Khyber Belt, Geminine, Cordella Dead, Beaufields, Beggars Orchestra, The Last Cavalry, Dumbsaint, The Curse Of Eve, The Wire, Eevee Nicole The Annandale Hotel $25 2pm Girls Talk Campbelltown RSL free 5pm Hell Crab City, Cousin Betty, Soft Shell Crab Sandringham Hotel, Newtown $10 7pm Heroes For Hire, I Call Fives, I Am Villain, Highways, As Rockets Fall Bald Faced Stag, Leichhardt 8pm all ages Janet Jackson (USA) Concert Hall, Sydney Opera House $119.90–$299.90 7pm Jive Bombers Cronulla RSL free 8pm Joanna Weinberg 505 Club, Surry Hills $15 8pm Kikuyu, Anna Chase, Jugu The Vanguard, Newtown $10 6.30pm Mike Mathieson Trio Bankstown Sports Club free 2pm The Pigs Empire Hotel, Annandale 6pm RemosK, Prezence, We’re No Angels, Richard Lawson, Soft Enerji, Anbis, Fronz Arp The Valve, Tempe free 3pm The Road Runners Town & Country Hotel, St Peters free 4.30pm

Rob Devlin Ramsgate RSL, Ramsgate Beach free 2pm Rockers Ride After Party: Malpractice, The Drey Rollan Band, The Crimplenes, DJ Brian Jets Sports Club, Tempe $5 1pm all ages These Kids Wear Crowns (Canada) The Lair, Metro Theatre, Sydney $36.90 8pm all ages Tristen Bird, Esther Lamb, Mike Antoniou Mars Hill Cafe, Parramatta $7 6.30pm

JAZZ

Jimmy Shaw & Shaw’n’Uff Big Band, Peter Power, Paige Delancey Randwick Labour Club $8 (conc)–$10 3pm The Peter Head Trio Harbour View Hotel, The Rocks free 4pm

ACOUSTIC & FOLK

Blues Sunday Artichoke Gallery Cafe, Manly free 5pm Bop Louis Duo Oatley Hotel free 2pm Elevation U2 Acoustic Orient Hotel, The Rocks free 4.30pm Russell Neal Avalon Beach RSL Club free 6.30pm Shane MacKenzie Cohibar free 2pm Spenceray The Belvedere Hotel free 5pm

COUNTRY

The 4 Highwaymen Brass Monkey, Cronulla 8pm The Slowdowns The Hive Bar, Erskinville 3pm

L2 Kings Cross Hotel www.fbisocial.com

Thursday November 3

Friday November 4

Saturday November 5 LAURA IMBRUGLIA (SINGLE LAUNCH)

RADIANT LIVE presents

CARSICK CARS (CHINA)

MERE WOMEN RITES WILD

PARIS WELLS + GUESTS

+ MAGNETIC HEADS + POLYFOX AND THE UNION OF THE MOST GHOSTS 8pm $10

LATE NIGHT DJs GENERIC DJs + WEDDING RING FINGERS + FRAMES

8pm $12 38 :: BRAG :: 436 : 31:10:11

8pm $12+bf / $15 on door

Midnight - 3am FREE

gig picks

up all night out all week...

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Lanie Lane

WEDNESDAY NOVEMBER 2

SATURDAY NOVEMBER 5

Lanie Lane, The Fearless Vampire Killers, Miss Little The Vanguard, Newtown $15 6.30pm

Betty Airs, The Bungalows, The Ganaschz The Roxbury Hotel, Glebe 8pm

Mojo Juju Brass Monkey, Cronulla $15.30 8pm

Cafe of the Gate of Salvation The Factory Theatre, Enmore $22.50 (conc)–$32.50 (+ bf) 8pm

Super Wild Horses, Straight Arrows, Ganaschz Beach Road Hotel, Bondi free 8pm

THURSDAY NOVEMBER 3 Carsick Cars (China), Mere Women, Rites Wild FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm Paul Dempsey, Ben Salter The Annandale Hotel (sold out) 8pm

FRIDAY NOVEMBER 4

+

s w o r r A Straigh+tThe Ganaschz

Kill City Creeps, East River, The Slips, DJ Lancelot Upstairs Beresford, Surry Hills free 6pm Kings Of Leon (USA), Band of Horses (USA) Allphones Arena, Sydney Olympic Park $102–$130 7.30pm Witch Hats, Lost Animal, Circle Pit, Kirin J. Callinan Gaelic Theatre, Surry Hills $15 (+ bf) 8.30pm

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Emma Louise, Charlie Mayfair Goodgod Small Club, Sydney $12 (+ bf) 8pm King Cannons, Jackson Firebird, The Strums Oxford Art Factory, Darlinghurst $12 (+ bf) 8pm Band Of Horses

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BRAGâ&#x20AC;&#x2122;s guide to dance, hip hop and club culture

brag beats inside

onra

shapeshifter + club guide + club snaps + columns

+ more

fantastic man We has internets!

www.thebrag.com Extra bits and moving bits without the papercuts BRAG :: 436 :: 31:10:11 :: 41

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

five things WITH

FORCES

Growing Up [Alex]: My dad is a producer. One of my 1. earliest memories is of him cutting tape on a beautiful machine in the catacombs of the ABC, on the Swan River in Perth. The smell of old sound studios is very specific and romantic.

[Tom]: I have distinct memories of listening to Smash Hits ‘92 on repeat during a camping trip through the outback. Something about the contrast between synthetic pop and the bleak Australian desert stuck with me.

2.

Inspirations [Alex]: The synthesisers themselves are probably my primary inspiration. Tense, White Car and Gatekeeper are all contemporary acts that interest me a lot; you can inhabit those acts. Martial Canterel has been an incredible influence, and John Maus is a pretty fascinating figure who writes great music. In Australia I like Kirin J Callinan a lot, and I think Mathew Brown is making some pretty incredible techno.

[Tom]: I’m equally inspired by what I loathe as by what I love. Music should be both a reaction against and a movement towards.

Your Crew [Tom]: I used to DJ every Wednesday 3. night at a magical shithole called St Jerome’s.

I didn’t get paid much, but I had complete

Mark Antona

freedom to play absolutely anything I wanted to. It gave me the chance to explore my bastard vision of dance music, which Alex seemed to like.

The Music You Make [Alex]: Live, I suppose we are quite 4. direct. We are a dance act essentially but we write more songs than tracks. Tom has an electronic kit he stands behind; I mainly just sing now, and trigger the odd event. It’s driving, bodily music. Hopefully it’s fun, too.

Matthew Dekay

5.

Music, Right Here, Right Now [Alex]: There are so many obstacles to being successful in the music industry, but the main one is probably too much choice. I think applying technical and conceptual limitations to a project can be helpful.

[Tom]: Other obstacles include escaping the tyranny of the past, and trying to create something new despite the odds being stacked against you. New bands that inspire us somehow manage to do this, like Kirin J Callinan, UV Race, Holy Balm and Eddy Current Suppression Ring.

SHRUG @ THE CIVIC

The good party people at Shrug took a break to hibernate through the Winter, but they’re back and ready to rock your world. How do they intend to do said world-rocking? With names like Matthew Dekay, SQL, Robbie Lowe, Dave Stewart, Magda Bytnerowicz and Mesan, the answer is obvious. Taking over the Civic Underground on Saturday November 19, this is one party you do not want to miss out on – and to make sure you don’t, BRAG has a double pass to give away. Just email us with what’s been rocking your world lately. (YouTube clips of baby mole rats are perfectly acceptable submissions.)

What: ‘Ice’ is available on flexi-postcard through Siberia on Tuesday November 1 Where: siberia.bigcartel.com

the likes of The Pet Shop Boys and Passion Pit reworking tracks from Gaga’s The Fame.

ROUND TABLE KNIGHTS TOUR

European DJ duo Round Table Knights have just announced that they will be returning to Australia, and will play at Bondi venue Cream Tangerine on Saturday December 17. Round Table Knights boast a back catalogue that includes releases on the Gomma and Defected imprints, along with a remix of Tensnake’s mega-anthem ‘Coma Cat’, which had the honour of being dubbed ‘Pete Tong’s Essential New Tune’ by none other than Tong himself. Earlier this year, the pair moved into the production oeuvre with the release of their debut album Say What?! on Jesse Rose’s Made To Play imprint. The following passage vividly captures what to expect from the album – let’s join the action mid-sentence. “… the album’s like a Round Table Knights DJ Mix; there are always some songs from different genres that you wouldn’t expect … we like these little surprising moments of finding out that something you would never expect fits together very well.”

BURNSKI DOWN UNDER

Following his 2010 Australia tour, UK producer James Burnham (aka Burnski) returns Down Under to play The Spice Cellar on Saturday November 19. Since cutting his teeth back in 2005 with a debut release on the highly respected Trapez imprint, Burnski has been a permanent fixture in the underground house milieu, releasing on Steve Bug’s Poker Flat and Dessous labels along with 2020 Vision.

The youngest DJ to play at Leeds institution Back2Basics, Burnski has an impressive DJ CV, having played Fabric in London, Watergate in Berlin, and The Loft in Barcelona. Now the quadrology is complete with a headline spot at The Spice Cellar, where he’ll be supported by local artists Murat Kilic, Rod Lee, Thug Records owner Carlos Zarate and Sam Roberts. Anyone wanting to hit the Spice Cellar dancefloor earlier than November 19 should be advised that former Bar 25 resident Philip Bader is playing Spice this Sunday morning, November 5 – and those who saw him throw down at last weekend’s rip-roaring Subsonic Halloween Boat party will attest to Bader’s considerable DJ prowess.

Sébastien Léger

SUBSONIC FESTIVAL ADDITIONS

The countdown to the Subsonic Music Festival, held over the first weekend of December in the idyllic surrounds of the Barrington Tops Mountain Valley Resort, is in full swing, with the announcement of further international drawcards to the already bourgeoning lineup. Old school party favourites A Guy Called Gerald and Cadenza’s Marc Antona are among those who will be joining the Subsonic fray, along with SQL, Spoonbill and New Zealand’s Tim Richards. There will also be plenty of interstate DJ talent representing, lead by Melbourne’s Mike Callander and the Bump DJs, ahead of a strong local contingent that includes Simon Caldwell, the Glitch DJs and the HaHa DJs. This is all in addition to a lineup that already comprises Apparat, Frivolous, Alexkid, Jurassic 5’s Chali 2na, Minilogue, Phil Kieran, Tiki Taane and Max Cooper. The time for hesitation is long past on this one, with early release tickets sold out and final release tickets now on sale. Hit subsonicmusic.com.au for further information.

BRODINSKI MIXES FABRICLIVE 60

Frenchman Brodinski has received the honour of compiling the next Fabriclive mix, which will be released in early(ish) November. Brodinski has released on Tiga’s Turbo label, Southern Fried and Grizzly over the course of his career, and has proven form when it comes to mix CDs: in 2009, he mixed an edition of Bugged Out’s Suck My Deck series, and last year he teamed up with DJ Orgasmic for two mix CDs titled Best Of Everything, one dealing with hip hop and the other with house and electro. In discussing Fabriclive 60, which features cuts from the likes of Tomas Barfod, Samuel L. Session and Renaissance Man, Brodinski elucidated, “[I] tried to include every track that has changed my life over the last two years, going from slow motion techno to RnB, from backroom music to acid house. I dedicate 42 :: BRAG :: 436 :: 31:10:11

this mix to my friend, mentor, brother, Mehdi Faveris Essadi AKA DJ Mehdi [who passed away recently in a tragic accident].”

LADY GAGA REMIX ALBUM

And just to prove we don’t discriminate, here’s some Lady Gaga news! The full tracklist for Lady Gaga’s Born This Way: The Remix album, which will be released in late November, has been announced, and it features a number of noteworthy artists reworking the infamous pop diva. Goldfrapp and Röyksopp are among the list of (unexpectedly credible) remixers, which also features The Weeknd and Hurts. There’s a surprisingly high turnout of British indie acts representing too: Wild Beasts and Metronomy remix ‘You & I’, Two Door Cinema Club re-wire ‘Electric Chapel’, and The Horrors add some extra tabasco to ‘Bloody Mary’ [Ha!]. The compilation follows Gaga’s 2010 remix collection which featured

KINK FT SÉBASTIEN LÉGER

KINK returns to its old stomping ground The Arthouse Hotel on Pitt St on Saturday November 19, with a headline set from Frenchman Sébastien Léger. A producer with a proclivity for ‘tougher’ tech sounds, Léger is also the man behind the Mistakes label, home to the likes of Format:B, Ramon Tapia and Popof. Aside from being a DJ and a record label boss, Léger also has a hefty back catalogue of productions to his name that encompasses 50 EPs, four full albums and hit tracks such as ‘Hit Girl’, ‘Hypnotized’ and ‘Aqualight’. There’s a long list of locals stepping up to support Seb, including Ben Morris, Shamus and Nukewood. Presale tickets are now on sale, with the event scheduled to run from 9.30pm till 6am.

N O V E M B E R

S A T 0 5 N O V P H I L I P B A D E R ( D E )

F R I 1 8 N O V D A S M O T H ( J P )

S A T 1 9 N O V B U R N S K I ( U K )

F R I 2 5 N O V P A N T H A D U P R I N C E ( D E )

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BRAG :: 431 :: 31:10:11 :: 43

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

five things WITH

The Aston Shuffle

MAGDA BYTNEROWICZ Growing Up The Music You Make My parents are the least I try to play a diverse range 1.

4. musical people you can find, so of music; it really depends what

Inspirations This is really hard to 2. narrow down, but artists like Moodymann, Reagenz, Rhythm & Sound and Terre Thaemlitz are constantly inspirational, mainly as paragons of lush analogue warmth combined with the raw business.

Your Crew These days my musical 3. besties are probably Dean and Dave from HAHA, but there’s a solid crew of people dedicated to putting on parties and pushing music they love, so it’s easy to find friends anywhere.

suits the mood of the gig I’m playing at. Anything from disco and edits to old jacking Chicago house vibes to contemporary stuff, right through to deep raw techno.

Music, Right Here, Right Now 5.

I think the underground electronic music scene is really healthy of late, thanks to the blood, sweat and tears of some of my faves like HAHA, Loose Kaboose, Shrug, CO-OP, Picnic, Future Classic and stalwart Mad Racket, as well as a great warehouse party scene. Locals tend to outshine internationals more often than not, so it’s nice to see the local parties thriving.

With: Matthew Dekay (NL), SQL (NL), Robbie Lowe, Mesan and Dave Stuart Where: Shrug @ Civic Hotel When: Saturday November 19

THE ASTON SHUFFLE

Canberra natives and Australian favourites The Aston Shuffle will be bringing their slick electro house productions down to the Beach Road Hotel on Friday November 4 for their only Sydney show, as they tour their brand spanking new single. ‘Won’t Get Lost’ is a corker of a track that’s been pumping out of triple j insistently, riding on the coattails of their debut record Seventeen Past Midnight which came out earlier this year. We’ve got a double pass to the gig to give away – just let us know the names of the guys behind the tunes.

run of performances of his ‘Being Black N Chicken N Shit’ show for the 2011 Sydney Comedy Festival. Quick mention should also be made of Bird Therapy, the quirky short Okine co-wrote and acted in that was among this year’s finalists for Tropfest, as further affirmation of the man’s standing as a popular local impresario. Okine, who discusses his hip hop pedigree by facetiously divulging that he “does not have ‘bitches’, does not love ‘hoes’ and does not hate the police”, will be joined by local electro band TokyoDenmarkSweden for a bash beginning at 7pm. Grab a free mix and check out Okine’s musings – both musically-focused and otherwise – at weareboilermakers.com

After considerable ‘time between drinks’, Bucci’s sophomore album, Amigo, hit shelves last year as the inaugural release on his own Maruca label (which is apparently named after his mother). While the album didn’t make the critical ‘splash’ that enveloped Bucci when minimal techno was all the rage – the fact that it wasn’t a ‘club’ album may have had something to do with the restrained response – Amigo is well worth a listen, and boasts a healthy cast of guest vocalists, including Armelle Pioline from Paris-based band Holden along with Chileans Washingtone Miranda and Jorge Gonzales. First release $30 tickets to the Pumphouse gig are currently available online.

PIER BUCCI

LHA AT THE GAELIC

Chile’s Pier Bucci will make his Australian debut this Saturday November 5 at The Pumphouse in Darling Harbour, where he will play a five-hour headline set for FACT. Though Bucci has been keeping a low profile of late, a listen to either of his two LPs provides a reminder of his prowess as a producer.

Following collaborations with Argenis Brito and Luciano, Bucci released his first album Familia back in ’05 on Crosstown Rebels.

On Thursday November 17, Sydney-based hip hop duo LHA will take to the stage at The Gaelic Club for the official launch of their debut album, Split Decision, a release that has already been well supported by FBi Radio.

LHA are a duo comprised of Producer Leehan and MC Adikkal, and have a signature sound that fuses elements of soul, reggae, disco and funk with a hip hop sensibility. LHA will be supported by local act Five Coffees.

Jedi Mind Tricks

JEDI MIND TRICKS

One of the more critically acclaimed groups in the underground hip hop milieu, Jedi Mind Tricks jet into Sydney to perform at The Factory Theatre in Enmore on Thursday December 8. Throughout the group’s history, JMT have collaborated with rap veterans like GZA, Kool G Rap, 7L & Esoteric, Sean Price, Ras Kass and R.A. the Rugged Man among others, and have sold over 400,000 albums worldwide, all of which were released independently. JMT have recently dropped their seventh studio album, Violence Begets Violence, through fiery frontman Vinnie Paz’s own imprint, Enemy Soil. They’ll be supported by veteran Philadelphian duo Outerspace, who have recently released their own seventh LP, My Brother’s Keeper, along with Mass MC & Reason and Kerser.

Tickets are currently available online.

AEROPLANE TOUR

On the back of his new In Flight Entertainment compilation, Vito De Luca – who is now the sole producer behind the Aeroplane moniker following the departure of former production partner Stephen Fasano – will be touring Australia later this year, and is set to spin at Ivy Pool Bar on Sunday December 18. In Flight Entertainment features cuts from Poolside, Kris Menace, Kolombo, Cosmonauts, James Curd and Moonlight Matters, and apparently evolved from Aeroplane’s eponymous radio show on the Belgian station PureFM. The compilation is also notable for offering a new Aeroplane track, ‘Save Me Now’.

NEW WEIRD AUSTRALIA

Stuart Buchanan’s emerging label New Weird Australia is throwing an all-ages triple-bill this Friday November 4 at Black Wire Records, located at 219 Parramatta Road, Annandale.

Experimental Australian outfits Rites Wild, who hail from Adelaide, and Black 44 :: BRAG :: 436 :: 31:10:11

Vanilla (featuring Guerre, and members of Collarbones and Marseilles) will both be performing, along with special guest Pimmon, who will be celebrating the release of his new record, The Oansome Orbit. It starts at 7pm, with entry a mere $10. Rather than attempting to clumsily describe the obscure sounds of each of these acts, I instead suggest you head to newweirdaustralia.bandcamp.com, where you will uncover information about an assortment of esoteric Australian acts who are all well worth checkin’.

DISCO-MATT MC EP LAUNCH

Local entrepreneur Disco-Matt MC (aka Matt Okine) is launching his new EP, Pete Smoke, which was released online earlier in the month, with a free party this Friday November 4 at Hermann’s Bar, Sydney University. Aside from crafting hip hop beats, Okine is also renowned for his work in the television and comedy spheres, with a recent appearance on Can Of Worms following the

Dave Fernandes & Dean Dixon

HAHA UNDER THE RADAR

HaHa’s warehouse series continues this Saturday night with a ‘Return To The Wild’themed bash, which will feature sets from Jimi Polar, Ed Seven, Dave Fernandes and Dean Dixon, who spin together as D&D. Indeed, anyone after a top-drawer mix of quirky electronica, acid house and Detroit techno ought to check out the mix that D&D compiled for the Masters Of The Universe Podcast series, available through the MOTU blog. If you need inspiration to leave the cozy confines of your house and venture out onto the Saturday night dancefloor, then this mix should well and truly provide it – in spades. Hit www.hahaindustries.com for further party info.

Magda Bytnerowicz photo by Jason Nichol

my exposure to music growing was their Beatles collection and top 40 radio – East 17, anyone?

I don’t think I can credit my childhood as formative in any way at least until high school, when music really started to count.

Fantastic Man The Light Fantastic By Matt Crowley

W

orking as his alter-ego ‘Fantastic Man’, Melbourne’s Mic Newman has carved himself in deep house and disco circles as one to watch for slick, dancefloor ready productions that are turning heads here and abroad. Releasing on Wolf Music and Detroit’s Kolours LTD, Fantastic Man records have kept tempos down and dirty, and become must-have items in DJ bags and house collectors’ shelves since he emerged late last year. Mic is heading up to Sydney for his debut Fantastic Man performance at underground house favourite SLOW BLOW this Friday, and we thought we’d take the opportunity to catch up...

Shapeshifter

You release under your real name, Mic Newman, on the new Australian imprint Reckless Republic. How does it feel to be involved in a home grown label with such a strong underground following?

It’s always positive to see the local scene stepping up to the plate and providing a platform for artists to showcase to the world what is happening in our own backyard. Obviously there’s been an influx in home grown labels in the last year or two, especially those entering the vinyl market, so that in itself is positive and great to be a part of.

Back From Berlin By Rachel Barnes

S

hapeshifter have been around since 1999 – so long now that Sam Trevethick can’t even remember the label who put out their first releases. They formed their own label, Truetone Recordings, to escape the clutches of major labels – and through it, the New Zealand boys successfully released three number one independent LPs. “This was ten years ago, and the scene was just coming around,” Trevethick explains. “It was before MySpace and all that kind of stuff, and we just realised that major record companies kinda suck. They wanted to take everything and maybe, maybe give us a little bit of a hand. So we were like, ‘Nah, fuck that.’”

With such a negative experience of labels, it was surprising when the band announced in July last year that they’d signed internationally with well-known UK drum and bass label Hospital Records. But Trevethick says it was a no-brainer: “They’re definitely one of the biggest labels in drum and bass music.”

The label globally released Shapeshifter’s platinum selling album, The System Is A Vampire – and the band moved their studio to Berlin this year to start working on a follow-up.

“We were just touring a lot,” Trevethick says, explaining the move. “The process was quite time intensive, so it was good to have a little bit of a breather and just potter away on some other things.” But although they were on the other side of the world, the band’s recording experience wasn’t all that different. “We’ve always had our own studio so we just took bits of that with us – it was all quite familiar.

But we had never been to Berlin before that...

It was great!”

Shapeshifter have just finished up a huge tour of Europe, where they would sometimes play shows in which no more than two people in the audience knew who they were; after the massive recognition that the boys are used to

in New Zealand and Australia, Trevethick says it was a fun challenge. “It was really exciting – it was really good. It’s a completely different vibe than when you’re playing to people who know your music. It’s really exciting for us.”

And although it’s always good to be home, it seems he might have left a little piece of himself somewhere in Berlin. “I was feeling homesick at times for sure, but there are a lot of things about Berlin that I miss now that I’m back here.”

Back in New Zealand for just a few days, and already planning and promoting their upcoming summer tour to celebrate their single release, Trevethick doesn’t seem to want to slow down any time soon.

Shapeshifter are excited to show their fans what they’ve been up to; across their summer tour through Australia and New Zealand, the band promises live shows influenced by the sights and sounds of Europe. “We love coming here in summer – we’ve got a great show set up, we really put a lot of effort into it. It’s a big motivating factor, when there’s gonna be a lot of people that know your music. You’ve gotta strive to do better, and to do things differently.”

I’ve seen photos of your studio, and it seems to house some great classic synths. Any favourite piece of studio kit?

Right-o, so at the moment I’m using both Yamahas DX7 & DX27, Roland Juno-106, Roland SH-101, Sequential Circuits Drumtraks 400 and my trusty Technics 1200s, which I often fire up for sampling purposes. That, plus a few other technical bits which wont excite readers I’m sure.

I’m pretty happy with that lot, although once you get the bug, it’s difficult to stay content...

What do you bring to a Fantastic Man DJ set that’s different to a set under your own name?

Depends on the weather – although I do like to wear different sneakers and comb my hair in the opposite direction... So visually, you can expect a jaded mirror image of my usual self, which is pretty jaded already. Musically, I play my records 6.35% slower and 2.87% less loud, so leave your earplugs at home.

Deep house and disco sounds have been enjoying something of a renaissance over the past few years, but obviously their lineage stretches back over 20 years to classic Detroit, Chicago and NYC sounds...

How long have you been listening to deep house music? What artists do you admire?

I’ve been listening to house since the beginning; it hasn’t really strayed too far from that.

Obviously sounds change and trends come and go, but things come full circle and one thing always prevails: good quality music. I suppose that’s what any artist should aspire to achieve; producing quality music that will ‘stand the test of time’. As far as artists I admire, the Theo Parrishs and Moodymans of this world are never ones to disappoint. More currently, guys like Space Dimension Controller and Floating Points really know how to strike a chord in a scene that often lacks any real musical credibility.

There seems to be something in the water in Melbourne house producers; yourself, Tornado Wallace and Francis Inferno are all getting high praise overseas. Any explanation?

Not sure what it is really… Maybe it’s because the weather is so shit and we have more productive studio time? Having said that, there are some pretty awesome acts coming out of Sydney at the moment as well – and there’s never been any shortage of good producers around. I guess in this case, we’re all good mates who help and push each other to go bigger and better, something that’s obviously reflected in what comes out at the other end. There are some great parties around as well; Animals Dancing are touring some great artists and also supporting the local scene, and the bigger touring companies have their moments too.

What’s coming up for the end of the year?

I’ve been playing catch up after spending the European summer in the European territory of Europe... So a lot of studio time is what I have to look forward to.

With: Softwar, Nic Scali and SLOW BLOW DJs Where: SLOW BLOW @ GoodGod Small Club When: Friday November 4

But perhaps most of all, Trevethick is excited to be touring New Zealand with reggae legend Horace Andy at the beginning of next year. Trevethick started throwing around the idea of touring with Andy after seeing him perform live, and now he can’t wait for their tour start. “I’d say, myself personally, if I was to categorise which genre I loved the most, reggae would be number one. Whenever I hear reggae I just relax, and it just puts things into perspective,” he says. “We are very fortunate to have him.”

Where: The Metro Theatre When: Saturday November 5

Onra Just Add Beats By Bridie Connellan

“I

started with three cassettes. Two were given to me by my older step-brother in 1991: A Tribe Called Quest’s The Low End Theory and N.W.A.’s Niggas Collide. The third tape was just a random compilation of rap with all the hits, like Run DMC, LL Cool J... I didn’t even know who was who. For me it was just hip hop – even when Vanilla Ice came out, he was cool.” It’s alright Onra, we’ll let that one slide.

Waking dustily at the ungodly hour of 11am, it takes Arnaud Bernard a while to manage more than a yawny “‘allo?” as he hauls himself into consciousness after “a little party yesterday” comprising of too much good Italian wine. He’s hungover, sure, but this Parisian hip hop beatmaker has every reason to break out the Chianti, with his alias Onra responsible for more underground hype, blog posts and hipster tees than a Holga riding a fixie. Collaborating with the likes of Slum Village, Reggie B and Walter Mecca across five studio albums, and with a glut of 12-inch releases in tow, Onra is way over three feet and rising.

Humbly describing his work as “basic” seems like something of a Fringlish understatement; his swirling layers and killer samples create a unique throwback to master beatmaker J Dilla or French jazz-hopper DJ Cam. Onra has a knack for nailing trends, with his 2010 album Long Distance raising happy Pitchforks with its summery ‘80s blend of classic RnB and sketchy beats. Long Distance was a far cry from 2007’s Vietnam- and Far-Eastern-inspired Chinoiseries or the electronic Bollywood on its 2009 follow-up 1.0.8; indeed, Bernard has expressed a keen interest in concept albums since his 2006 debut, A Hip Hop Tribute To Soul Music.

Growing up in the French countryside, Bernard admits to being something of a purist in his listening; his musical influence is and always has been undiluted hip hop. From Madlib to Q-Tip to D’Angelo and back via Waajeed, all hip hop was hip hop to the young Bernard, and he continues to fuse it with any sound that moves. Up next for this hungover Frenchman is the sequel to the original Chinoiseries, in which he mixes Chinese music with hip hop to pay homage to Bernard’s

grandparental origins. “I’m making the second one for myself because I didn’t really like the first one,” Bernard explains. “When I made it in 2006, I was only really starting out, so my knowledge of beats was really limited. It’s something that I didn’t really take seriously.”

With an initial cut ‘A New Dynasty’ already in circulation from Chinoiseries Pt. 2, the next installment of his motley beats is indicative of the progress Onra has made in five short years, both as a “researcher” and as a novel beat artist. Fronting an infectious Asian twang alongside dense bass beats, this revisit breathes new life into pickings from the dusty record stores of Southeast Asia that Bernard regularly haunts. “Not too many people mix those two elements, Chinese music and hip hop. Nobody had done it before [me] and nobody has done it after,” he says. “It’s a style I created, and I just want the world to keep in touch with this beat.”

What: Oxford Art Factory When: Thursday November 3

BRAG :: 436 :: 31:10:11 :: 45

club guide send your listings to : clubguide@thebrag.com

club pick of the week Onra

Cargo Bar, Sydney Thursdays I’m in Love 5pm Greenwood Hotel, North Sydney Tenzin, Cadell, Zannon, DJ K-Note free 8pm Hugo’s Lounge, Kings Cross Bad Apple Ivy, Sydney Ivy Live 5pm The Lansdowne Hotel, Chippendale Indie Warhol Low 302, Darlinghurst Actual Russian Brides Swinging Tasty Bag, Avra Cybele, Annabelle Lines free 9pm Oxford Art Factory, Darlinghurst Onra (France), BC, Jimmy Sing $20 (1st release)–$30 (+ bf) 8pm Q Bar/ Phoenix Bar, Spectrum Hot Damn $15-$20 8pm Sapphire Lounge, Kings Cross Flaunt $15 8pm The Sly Fox, Enmore Inhale Foreigndub DJs free Soho, Potts Point Ladies Night DJs Theloft, Sydney Thursdays at theloft Nad, Stu Turner, Mr Belvedere The World Bar, Kings Cross Propaganda: Propaganda DJs free (student)–$5 9pm

FRIDAY NOVEMBER 4

THURSDAY NOVEMBER 3

Oxford Art Factory, Darlinghurst

Onra (FR),

BC, Jimmy Sing $20 (1st release)–$30 (+ bf) 8pm MONDAY OCTOBER 31 The Lansdowne Hotel, Chippendale Monday Jam Danny G Felix, Djay Kohina free 9pm Scubar. Sydney Crab Racing 7pm The World Bar, Kings Cross Jazz DJs free 7pm

TUESDAY NOVEMBER 1 Establishment, Sydney Rumba Motel DJ Willie Sabor free 6pm Rock Lily, Pyrmont Sneaky Sound System 4pm Scruffy Murphy’s, Sydney Frat House free Scubar, Sydney Backpacker Karaoke 8pm The World Bar, Kings Cross Pop Panic Pablo Calamari, Conrad Greenleaf free 8pm

46 :: BRAG :: 436 :: 31:10:11

WEDNESDAY NOVEMBER 2 Beach Palace Hotel, Coogee Palace Uni Night DJs free 9pm Cargo Lounge, Sydney Menage a Trois 5pm Home The Venue, Darling Harbour Embrace Wednesdays free 8.30pm Kong’s Jungle Lounge, Bondi Junction Voodoo free 9pm The Lansdowne Hotel, Chippendale Frat House Dtrain Disco, Hacky Sack, Friend DJ free 8pm The Marlborough Hotel, Newtown Student Nights DJ Moussa free The Ranch, Eastwood Hump Wednsdays Oxford Art Factory, Darlinghurst

Runway Art Paper Plane Project, Mike Who?, RaineSupreme $28 (+ bf) 8pm Scubar, Sydney Schoonerversity 3pm Shelbourne Hotel, Sydney Sincopa free 7pm White Revolver, Bondi Songs Of Mowtown – In Memory of Marv Tarplin Ilias free 9pm The World Bar, Kings Cross The Wall Heaps Decent DJs, Starjumps, Double Goose, Clockwerk, Cottonmouth (UK), Tongue In Moo, Empress Yoy free 7pm

The Arthouse Hotel, Sydney RnB Superclub $20 9.30pm Bank Hotel, Newtown Friendly Fridays DJ Delacroix free Beach Road Hotel, Bondi The Aston Shuffle, Rufus $20 (+ bf)-$30 8pm The Burdekin, Darlinghurst DJs 9pm Candys Apartment, Kings Cross Button Down Disco The Cellar, Sydney Void Sound $10 10pm Chinese Laundry, Sydney Kid Kenobi, Gabriel Clouston, Hydraulix, King Lee, Reload, Buenos Diaz $15 (early bird)–$20 10pm Civic Underground, Sydney Volar 10pm Fake Club, Kings Cross Sounds Of Trance Digital Mouth, Coopa, I&S Project, Rodskeez 10pm Goodgod Front Bar, Sydney Yo Grito! Yo Grito DJs free 9pm Goodgod Small Club, Sydney Slow-Blow Fantastic Party Fantastic Man, Softwar, Nick Scalo, DJ Junglesnale, DJ Dreamcatcher $10 11pm Greenwood Hotel, North Sydney DJ Cadell free 5pm Gypsy Lounge, Darlinghurst Warp Speed DJ BZurk, DJ Guillotine, DJ Absynth $12$15 9pm Home Nightclub, Sydney Sublime 9pm

Philip Bader

Hugo’s Lounge, Kings Cross Rat Pack 8pm Jackson’s On George, Sydney Ultimate Party Venue Resident DJs free Kings Cross Hotel, Darlinghurst Sietta, Skryptcha, Five Coffees, DJ Mickey Morphingaz free 8pm Kit & Kaboodle, Kings Cross Falcona Fridays Joyride, The Godfather, Andy Walsh, Fauce $10 8pm Kong’s Jungle Lounge, Bondi Junction Wild Live $10 9pm The Marlborough Hotel – Level 1, Newtown Resident DJs free Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 9pm Omega Lounge, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm Richmond Inn DJ Idol free 8pm Sapphire Lounge, Kings Cross Club Onyx DJs free-$15 8pm Scruffy Murphy’s, Sydney Frisky Friday DJs free 6pm Settlement Bar, Sydney Spoilt Dave Stuart 6pm Shark Hotel, Sydney Pulse8 Jono free Shelbourne Hotel, Sydney Mixtape free 6pm Soho, Potts Point Soho Fridays DJs free Space, Sydney Zaia Savvy, Edo, D’Kutz, Em-Tee, Ming, Ace, Flipz, DJ Sefu, MC Suga Shane, Arbee, Suae, Pulsar, Askitz, Jinkang vs Tezzr vs Rhe3, MC D 9.45pm Trademark Hotel, Kings Cross Eve 9pm The Watershed Hotel Bring On The Weekend! DJ Jeddy Rowland, DJ Anders Hitchcock, DJ Matty Roberts free The Whitehouse Hotel, Petersham Eschalon Judgemental, Hotel 6, Royalston, Linken, Vertigo, Bionic, MC D Tech, MC Rush $5 (early bird)–$10 9pm The World Bar, Kings Cross MUM The Shake Up, Naysayer & Gilsun, Royston Vasie, Rargo, Albatross, Rainbow Chan, Ghoul DJs, Kato, Frames, Adrian Gidaro, MUM DJs $10-$15 8pm

THURSDAY NOVEMBER 3 The Cool Room, Australian Hotel and Brewery, Rouse Hill Cool Room Thursdays Beach Road Hotel, Bondi Drop Paris Wells, Benjalu, Somatic, Bentley free 8pm

Softwar

SATURDAY NOVEMBER 5 The Argyle, The Rocks Takin’ It Back Nicc Johnson (Ibiza), The Owl, Random Soul free 9pm Bank Hotel, Newtown DJ Slynk free The Burdekin, Darlinghurst DJs 9pm Candys Apartment, Kings Cross Shake! Shake! Shake!

MooWho, Zomg! Kittens, Disco Volante, Diskoriot, Dutchies, Labronx, Stressless, Hoodlmz, 8pm Cargo Bar, Sydney The Institute of Music DJs Chinese Laundry, Sydney Pleasurekraft (Sweden/USA), The Only, Wax Motif, Jamie Vale, Reckless, Samrai, King Lee, Mike Hyper, Raull $15 (early bird)–$25 9pm Civic Underground, Sydney Terrence Parker (USA), Phil Toke, Phil Hudson, Eadie Ramia, Michael Zac $20-$25 9pm Cohibar DJ Matty Roberts free The Cool Room, Australian Hotel and Brewery, Rouse Hill Resident DJs 9pm Dee Why Hotel Kiss & Fly DJs 8.30pm Establishment, Sydney Sienna G-Wizard, Troy T, Def Rok, Eko, Lilo 9pm Goodgod Small Club, Sydney Heatwave Konnected As 1, Miracle, Mike Champion, Scrappy, Kween G & Candy Borquaye with Bad Ezzy, Young Phaze, Jerk Syd, K.G., Ziggy, Levins, New Era, Rocboi, Divine $15 (presale)-$25 7pm Home The Venue, Sydney Homemade Saturdays HAHA Warehouse Under the Radar feat. Jimi Polar, Ed Seven and D&D Ivy, Sydney Pure Ivy Jackson’s On George, Sydney Ultimate Party Venue Resident DJs free Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang Miss T, Gabby, Cassette, Alison Wonderland 8pm The Local Taphouse, Darlinghurst Black Gold Eastside Radio DJs $5 11am Man of War Steps, Opera House High Flyers Day Cruise Simon Caldwell, Emme, Karl Prinzen, Terry A, Richie Edwards, Tazman, Mr Glass, Gian Arpino, Mike Who $59.10-$79.60 12pm The Marlborough Hotel – Level 1, Newtown Resident DJs free Metro Theatre, Sydney Shapeshifter (NZ), Jps, Foreign Dub $48 (+ bf) 8pm Pump House, Darling Harbour Pier Bucci, Javi Sampol, YokoO, The Franchi Bros $34.60 11pm

club guide send your listings to: clubguide@thebrag.com The Roundhouse, UNSW, Kensington Voluptuous Music Festival Mark Dynamix VS Robbie Lowe, Stafford Brothers, Vandalism, Helena, Timmy Trumpet VS Tenzin, Venuto, Ember, Dave Manna, John Glover, Steve Frank, Fear of Dawn, Raye Antonelli, Oakes & Lennox, Brad Spali, TwoFaced, Tyla, Charlie Voluptuous, Elastic Face, Links, Blitzrieg, MC Kidd Kaos, Lady Lauryn, Sickdog Elnino $65 (+ bf) 3pm Sandringham Hotel Street Level Bar, Newtown DJ Kaki free 8pm Sapphire Lounge, Kings Cross The Suite DJs free-$20 8pm Shark Hotel, Sydney Pulse8 Jono free Soho, Potts Point Usual Suspects Rob Pix The Spice Cellar Philip Bader (Germany), Nic Scali, Dean Relf, Scuba Stew $20 10pm Star Bar, Sydney Situation free 10pm St James Hotel, Sydney SFX 9pm Theloft, Sydney Late at theloft Mike Who, Disc Jockey Hansom, Devola, Murray Lake free Trademark Hotel, Kings Cross Voyeur

Verge Bar, Arthouse Hotel, Sydney After Dark DJs free Water Bar – Blue Hotel Saturday Night Deluxe DJ Daniel Rowntree free The Watershed Hotel Watershed Presents… Skybar The World Bar, Kings Cross Wham! Shivers, James Taylor, Telefunken, Matttt, Trent Rackus, Brendan Fing, Johnny Rad, Foundation, Adam Bozetto, Pipemix, Ra Bazaar, Astrix Little, The Jackal, Nate Perry $15-$20 10pm

SUNDAY NOVEMBER 6 Bank Hotel, Newtown Kitty Glitter free Basement Level 58 Elizabeth St, Sydney Spice Simon Caldwell, Murat Kilic $20 4am Cargo Bar, Sydney Stick It In 3pm Cohibar Shane MacKenzie free Goldfish, Kings Cross Martini Club free 6pm Hugo’s Lounge, Kings Cross Sneaky Sundays Resident and Guest DJs 8pm Ivy, Sydney Courtyard Party Hardwell,

Angger Dimas, Hook N Sling, Ajax, Glovecats, Rob Pix, Helena, Jono Fernandez, Nukewood, Danceclub DJs, Swiss Dub, Narrator & Russlan, Durty Mindz, Christian Carlos, Error Detektives, Diskoriot, Manhecan, Trash, Disko, Why’s That!? $35-$60 1pm Jackson’s On George, Sydney Aphrodisiac Resident DJs free Kit & Kaboodle, Kings Cross Easy Sundays Stu Turner, NAD, Mr Belvedere, Murray Lake, Pat Ward 6pm Kudu Lounge, Darlinghurst Timeless Sundays Dan Cropping, Ravi Ravs, Thomas Waldeier free 2pm Oatley Hotel Sunday Sessions DJ Tone free 7pm Sapphire Lounge, Kings Cross Sapphire Sundays free-$10 8pm Scubar, Sydney Sundays at Scubar 3pm The Watershed Hotel Afternoon DJs DJ Matty Roberts free The World Bar, Kings Cross Dust James Taylor, Alley Oop free 7pm

club picks up all night out all week...

WEDNESDAY NOVEMBER 2

Pleasurekraft

The World Bar, Kings Cross The Wall Heaps Decent DJs, Starjumps, Double Goose, Clockwerk, Cottonmouth (UK), Tongue In Moo, Empress Yoy free 7pm

THURSDAY NOVEMBER 3 Beach Road Hotel, Bondi Drop Paris Wells, Benjalu, Somatic, Bentley free 8pm

FRIDAY NOVEMBER 4 Beach Road Hotel, Bondi The Aston Shuffle, Rufus $20 (+ bf)-$30 8pm

DJ Junglesnale, DJ Dreamcatcher $10 10pm

Eadie Ramia, Michael Zac $20-$25 9pm

SATURDAY NOVEMBER 5

HAHA Warehouse HAHA pres. Under the Radar feat. Jimi Polar, Edseven and D&D

Chinese Laundry, Sydney Kid Kenobi, Gabriel Clouston, Hydraulix, King Lee, Reload, Buenos Diaz $15 (early bird)–$20 10pm

Chinese Laundry, Sydney Pleasurekraft (Sweden/ USA), The Only, Wax Motif, Jamie Vale, Reckless, Samrai, King Lee, Mike Hyper, Raull $15 (early bird)–$25 9pm

Goodgod Small Club, Sydney SLOW BLOW Fantastic Party Fantastic Man, Softwar, Nick Scalo,

Civic Underground, Sydney Terrence Parker (USA), Phil Toke, Phil Hudson,

Metro Theatre, Sydney Shapeshifter (NZ), Jps, Foreign Dub $48 (+ bf) 8pm The Spice Cellar Philip Bader (Germany), Nic Scali, Dean Relf, Scuba Stew $20 10pm The World Bar, Kings Cross Wham! Shivers, James Taylor, Telefunken, Matttt, Trent Rackus, Brendan Fing, Johnny Rad, Foundation, Adam Bozetto, Pipemix, Ra Bazaar, Astrix Little, The Jackal, Nate Perry $15-$20 10pm

SUNDAY NOVEMBER 6 Aston Shuffle

The Spice Cellar Spice Simon Caldwell, Murat Kilic $20 4am

BRAG :: 436 :: 31:10:11 :: 47

Underground Dance And Electronica with Chris Honnery

LOOKING DEEPER SATURDAY NOVEMBER 5 Pier Bucci The Pumphouse

Soul Sedation

Soul, Dub, Hip Hop & Bottom-heavy Beats with Tony Edwards Soul Sedation goes live every Wednesday night on Bondi FM (88.0 or bondifm.com.au). Tune in 10pm 'til midnight to hear a deep and soulful selection of the tunes covered here, and plenty more that I don't have room for.

HaHa UTR 014 Warehouse Party

SBTRKT

Gaslamp Killer Oxford Art Factory

Carl Craig, Octave One & John Roberts Metro Theatre

The Drumcode label, an oligarch of the techno world founded by Swedish techno kingpin Adam Beyer, will release a compilation celebrating its 15th anniversary [read: birthday] at the end of November.

Rather than living off its considerable past glories, the compilation offers 20 previously unreleased tracks from artists such as Gregor Tresher, Joel Mull and

Adam Beyer

Subsonic Music Festival Barrington Tops

I

The Germanic collective of Todd Bodine, Tom Clark, Philip Bader, Daniel Dreier and Dale, who have begun working together as the Highgrade Disharmonic Orchestra, have recently released a debut LP, Multilayer, which is the 100th record on the Berlin-based Highgrade label. The project evolved out of live club performances, and is an initiative of the Highgrade label that is designed to, in the words of Highgrade main man Tom Clark, “further develop our creativity, to try to find a place for something new. We are five established artists with a pretty long background in this business, and since we’ve all become friends, it’s been obvious that we should get together and try something new.” Given that a ‘jamming’ approach is fundamental to the Highgrade Disharmonic Orchestra, it's not surprising that Multilayer has an extemporaneous feel to it, and is devoid of the predictable formulas that often constrict club releases.

“The name of the group suggests, to a certain extent, our goal to create an expedition with an uncertain outcome,” Clark affirms. “It’s definitely a kind of modern orchestra,” he adds. “We can use synthesisers, drum machines and laptops to go much further than you might with a traditional orchestra.”

f you weren't at the música festival down at Tumbalong Park, I’m sorry to say it, but you really did miss out. In brief coverage just here (because you can read the full review elsewhere in this issue), Electric Wire Hustle won some new fans outside of their soul-reggae sphere, Tiger & Woods really smashed it up with some deep, slowas-anything nu/Italo disco, Ghostpoet impressed with a moving and unique take on British beat poetry and hip hop, Lunice almost stole SBTRKT’s thunder (some people will tell you he did) with as good a set as I’ve ever seen anyone play anywhere, ever, and then SBTRKT came through with a mind-blowing performance that showed why he’s quickly been hustled onto the throne of British electronica. To this column, Musica felt like the perfect way to kick off summer – a cleverly programmed celebration of underground music, with the Sydney CDB as a backdrop. Soul Sedation recommends getting on top of it next time this event comes around.

Superstar French beatsmith Onra is taking over the Oxford Art Factory this Thursday November 3. He broke through with his recent album Long Distance on the All City label, but he’s been releasing music since 2006, sometimes alongside Quetzal, and sometimes with Byron The Aquarius as The Big Payback. He also travelled to Vietnam on a record-digging trip and turned his findings into a full album, sampled from the Chinese and Vietnamese vinyl he collected there. This column has said it a couple of times before: Onra’s ‘Long Distance (ft. Olivier Daysoul)' is a monster of a tune. Check it all out if you can, he’s a very accomplished producer – and Sydney will get to find out about the live show this week!

Sydney DJ/producer Meem is back with a new record, three years after he dropped his Bumpy Funk EP. The new record, Monsters Don’t Sleep OK!, features none other than Mr Scruff, Roots Manuva,

FRIDAY DECEMBER 9 Hermitude The Standard

Raashan Ahmad and The Boom Band Krewe, which I’m sure you’ll agree is quite the lineup to pull together. The Rashaan Ahmad track is available for free download on Meem’s website, and you can catch him at the Sydney album launch at Tonic Lounge, Friday November 11.

US producer Ben Samples has dropped an interesting new album entitled Malbec.

Samples’ bass-heavy, EDM-style production has flashes of hip hop, soul, and house, as well as more straightforward dubstep style recordings. Out of Denver, Samples is endorsed by Eliott Lipp through Lipp’s Old Tacoma label.

The Last Kinection hit the road to tour their new album, Next Of Kin. Guests on the record include a broad swathe of some of Australia’s most interesting MCs, including Trials from Funkoars, Ozi Batla from The Herd, Lotek and beat poet Omar Musa, as well as Simone Stacey.

The Sydney launch is Saturday November 26 at Goodgod Small Club, and you can pick up the album through Elefant Traks.

Meanwhile, fellow Elefant Traks artists Horrorshow are hosting rage next month, and they’ve promised to drop tracks from Nas and Lauryn Hill, as well as Promoe’s ‘The Walls Don’t Lie’. Keep your eyes and ears out if you’re up late and staring at the box, it should be a top quality selection!

And for any Sydney DJs who are still spending their hard-earned on the black wax, Mark Walton’s record collection is up for grabs down in the garage at The Recordstore. It’s truly some collection that Mark's getting rid of, with over 8000 records up for grabs that take in hip hop, breaks, soul, funk, reggae, rap and anything and everything in between. Get involved; you’ll find them at 255b Crown Street, Darlinghurst.

The Last Kinection

'But what to do this weekend?', I hear you ask, audibly irked at having endured three paragraphs dedicated solely to new releases. Steady on, my persevering chum; there are two clear standout club options this Saturday night that have your name all over them. As covered previously, Chile’s Pier Bucci will perform a five-hour set for FACT at The Pumphouse in Darling Harbour, or you can investigate HaHa’s ‘Return to the Wild’ BYO warehouse bash, which will feature sets from Jimi Polar, Ed Seven, Dave Fernandes and Dean Dixon.

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com 48 :: BRAG :: 436 :: 31:10:11

DECEMBER 2-4

Pier Bucci

Pär Grindvik, alongside contributions from Chris Liebing and Slam. Those of you who are excited by the impending 15 Years Of Drumcode release may also be interested in Format B’s recent album, Restless. Released on October 20 on Format B’s own Formatik label, the LP is the follow-up to the German duo’s popular debut album from ’08, Steam Circuit.

Though I haven’t heard it, that’s never stopped me – or indeed you – in the past, and I’ve got no problem proclaiming that Restless ought to warrant a cursory listen from anyone with a penchant for ye olde tech house.

SATURDAY NOVEMBER 5

Mulatu Astatke Factory Theatre

SATURDAY DECEMBER 17

L

Onra Oxford Art Factory

FRIDAY DECEMBER 2

Donato Dozzy The White House

uke Slater has just – I’m talking only last week – dropped his latest album under his Planetary Assault Systems alter ego, The Messenger, on the Ostgut Ton label, which has been his main outlet in recent times. Ever since the release of the debut Planetary Assault Systems album The Electric Funk Machine, way back in that acid-washed summer of ’94, Slater has used the project as a means of exploring the dynamic aural interplay of club and home listening, and created ‘all-purpose’ techno that has a sufficiently strong thematic unity so that it can be appreciated in any context. Indeed, Slater’s mastery of the techno oeuvre is well-known, the sort of subject that’s freely thrown around by clubbers as standard repartee during chin-stroking sessions, but his command of the ambient genre is something that is not as commonly acknowledged. Slater’s classic Four Corners album, released under his The Seventh Plain moniker in the mid-‘90s, is a must for anyone interested in electronic soundscapes that diverge from the dancefloor. “I love to inject art into techno, going avant-garde obscure in places, because when it comes down to it, that’s what I find interesting,” Slater elucidated when discussing his latest album. “Musicwise, on The Messenger I carried on in much the same way as I approached things before, but with different technology and by being aware that development of a theme is paramount. Planetary Assault Systems is really just an observer/gatherer, then passing it on in a different form. Rather than paint it or write words, I stick it in the music. Music is my art, hence the record feels honest and real to me, and I hope others feel that too.”

THURSDAY NOVEMBER 3

Shapeshifter Metro Theatre

SATURDAY NOVEMBER 27

Luke Slater

ON THE ROAD

Send stuff for this column to tonyedwards001@gmail.com by 6pm Wednesdays. All pics to art@thebrag.com

SBTRKT @ Musica Tumbalong photo by Ashley Mar

Deep Impressions

snap

funkoars

PICS :: KC

up all night out all week . . .

chinese laundry

PICS :: AM

20:10:11 :: Upstairs Beresford :: 354 Bourke St Surry Hills 9267 3787

onra live party profile

It’s called: Onra – LIVE It sounds like: Chopped-up ‘80s synth funk, crazy large beats and some Wu-Tang-inspired Chinese and Vietnamese instrumental hip hop.

Who’s spinning? Onra (live) with DJs Jimmy Sing and BC (Tone) Sell it to us: For the first time in Australia, Onra brings his live show to Oxford Art Factory to present his blend of hip hop, ‘80s synth funk and traditional Chinese and Vietnamese music all chopped up live on the MPC and decks.

naughty by nature

PICS ::KC

22:10:11 :: Chinese Laundry :: 111 Sussex Street Sydney 82959958

21:10:11 :: The Backroom :: 2A Roslyn St Potts Pt 9361 5000

The bit we’ll remember in the AM: the beats !

Crowd specs: hipsters, hip hoppers, stude nts, glam crowd, trainspotters – all welcome.

Wallet damage: $25 pre or more on the door if available Where: Oxford Art Factory / 38-46 Oxford St, Darlinghurst

propaganda

PICS :: DM

When: Thursday November 3

strike

PICS :: AM

20:10:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

the cool room

PICS ::TW

22:10:11 :: Strike Bowling Bar :: 22 The Promenade, King St Wharf 1300787453

20:10:11 The Australian Brewery:: 350 Annangrove Rd Rouse Hill 9679 4555

:: KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) POPOV :: TIM WHITNEY :: OUR LOVELY PHOTOGRAPHER RGE GEO :: CHY PEA NS :: THOMAS :: ASHLEY MAR :: DANIEL MUN :: SAM WHITESIDE

BRAG :: 427 :: 29:08:11 :: 49

snap sn ap up all night out all week . . .

PICS :: SW

Who’s playing? Glass Towers and awesome DJs. Three songs you’ll hear on the night: ‘Rock Me Amadeus’ – Falco; ‘Just Can’t Get Enough’ – Depeche Mode; ‘Eye of the Tiger’ – Survivor (sounds cheesy now but wait til you’re locked in a fierce Street Fighter 2 battle.)

And one you definitely won’t: anything by J-Biebs.

Sell it to us: Just $10 to get in, then you can play a bazillion arcade games for free, enjoy an alcoholic milkshake at our retro Milk Bar, play Assassin’s Creed: Revelations before it’s even released, watch video game characters come to life on canvas, and have a boogie to some sweet jams.

The bit we’ll remember in the AM: Getting a high score and adding your name as ‘BUM’ or ‘ASS’ (never gets old).

Crowd specs: Pinball wizards, total legends, reigning champs and sexy nerds.

Wallet damage: $10 on Moshtix / $10 at the door Where: Oxford Art Factory / 38-46 Oxford St, Darlin

ghurst

When: Thursday November 10, 6pm – late

PICS :: GP

20:10:11 :: Spectrum :: 34 Oxford St Kings Cross 9360 1375

seven

It’s called: Insert Coin(s): Level 2 It sounds like: A bunch of arcade games going “DING DING DING!”, “BOOP BOOP BOOP!” and “PEW PEW PEW! ”

astral people

21:10:11 :: Upstairs Beresford :: 354 Bourke St Surry Hills 9267 3787

PICS :: KC

hot damn

party profile

insert coin(s) lvl 2

sneaky sound system

PICS :: AM

20:10:11 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

the exchange hotel

PICS :: GP

wham!

21:10:11 :: The Exchange Hotel :: Spectrum :: 34 Oxford St Kings Cross 9360 1375 50 :: BRAG :: 436 :: 31:10:11

PICS :: DM

21:10:11 :: Upstairs Beresford :: 354 Bourke St Surry Hills 9267 3787

22:10:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 :: KATRINA CLARKE :: S : TIM LEVY (HEAD HONCHO) TNEY :: OUR LOVELY PHOTOGRAPHER CHY :: GEORGE POPOV :: TIM WHI PEA MAS THO :: NS MUN IEL :: ASHLEY MAR :: DAN :: SAM WHITESIDE